Fine Paintings & Sculpture
Sale 2817B
May 29, 2015
Boston
Fine Paintings & Sculpture
Specialists
Robin S.R. Starr
Elizabeth C. Haff
Michelle Lamunière
Department Director 508.970.3259
508.970.3258
508.970.3297
Department Inquiries: 508.970.3206
Auction Information Auction 2817B
Preview
Absentee Bidding
Friday, May 29 4PM preceded by Fine Prints & Photography at 12PM
Wednesday, May 27 12 to 5PM
T: 617.874.4318 F: 617.350.5429
Thursday, May 28 12 to 8PM
General Inquiries 617.350.5400
63 Park Plaza Boston, MA
Friday, May 29 9 to 10AM
View all lots online at www.skinnerinc.com cover : 298 ; frontispiece : 301 ; interior back cover : 325 ; back cover : 249
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American & European Works of Art Auction 2704B 02/07/2014 4:00 PM EST Lot 632 Of 689 - Alexander Calder (American, 1898-1976) Red Circus Horse
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$110,000 Floor Bidder $105,000 Floor Bidder $100,000 Floor Bidder $95,000 Floor Bidder $90,000 Internet Bidder SK2149 Online bidder SK2149 requests bid of $90,000 on lot 632 $85,000 Floor Bidder $80,000 Floor Bidder $75,000 Floor Bidder
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Table of Contents 1
Auction & Specialist Information
2
Web Site & Online Bidding
4
Online Sale Announcement
5
Glossary of Terms
6
Provenance
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Lots 201–423
158
Artist Index
161
Conditions of Sale
163
Absentee Bid Form
164
Company Directors & Specialty Departments
165
Administrative Staff & Client Services
166
Map & Driving Directions
167
Subscription Form
Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 161 of this catalog for the full terms and conditions governing your purchase.
Copyright © Skinner, Inc. 2015 All rights reserved MA/Lic. #2304
Upcoming Auction Fine Art online May 26–June 1, 2015
www.skinnerinc.com
Auction includes prints, photographs, paintings, sculpture, and works on paper For more information, please call 508.970.3206, or email paintings@skinnerinc.com
Glossary of Terms All items in this catalog are described according to the following table of terminology. Please note that all statements in this catalog as to authorship, period, and origin, are qualified statements subject to the Conditions of Sale.
Authorship will be described in the following ways: John Joseph Enneking In our judgment, the work is by the artist. Attributed to John Joseph Enneking In our judgment, the work may be ascribed to the artist on the basis of style, but leaves some question as to actual authorship. School of John Joseph Enneking In our judgment, a work of an unknown follower executed in the style of the artist and contemporary in period. Manner of John Joseph Enneking In our judgment, a work executed in the style of the artist by an unknown hand and probably from a later period. After John Joseph Enneking In our judgment, an intended copy of the work of the artist. American School, 19th Century In our judgment, the work of an unknown hand that can only be identified as to period and culture.
Other terms: Bears signature In our judgment, the signature not of the artist. This term is generally used separately, or together with a description of the work as “attributed to,” “school of,” “manner of,” or “after” the artist.
Measurements are given as height x width and refer to the size of the support unless otherwise indicated.
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Provenance Property from Sir A. Mortimer Singer to F. Ambrose Clark Property from the estate of Sir Alasdair Munro of Lindertis, BT The estate of Wayne Beam Morrell (1923-2013), Rockport, Massachusetts The collection of Mr. & Mrs. Ralph Trower, Brockton, Massachusetts The estate of Mr. and Mrs. Kay Kimball, Fort Worth, Texas The collection of Sir Morton Peto to the estate of Charlotte M. Ober The collection of Dr. James Coughlan, New York The collection of the Misses Rosamond and Aimee Lamb, Boston, Massachusetts Property from “Northcote,” the home and studio of Stephen Parrish, Cornish, New Hampshire The estate of J.B. Neumann Ex collection of the Pierre Dupont family, Delaware From Maurice Brazil Prendergast to his brother Charles Prendergast The estate of artist Reynolds Beal The estate of Jane Peterson Ex collection of Mr. & Mrs. Rolf Wartenberg, Miami, Florida Ex collection of Charles Percy Parkhurst (1913-2008), Williamstown, Massachusetts. Parkhurst was a part of the so-called Williams Art Mafia. He worked as a museum curator, professor, and was one of the “Monuments Men” The state of Paul Outerbridge, Jr. The collection of Mrs. Emmy Loew, Fort Lee, New Jersey The estate of artist George Grosz A New England collecting institution Private collections in Massachusetts, Vermont, New Hampshire, New York, Florida, and California Estates in New Jersey, Massachusetts, Maine, and Pennsylvania
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201 School of Horatius de Hooch (Dutch, d. 1686) Travellers in a Mountainous Wooded Landscape Unsigned. Oil on canvas, 34 7/8 x 44 1/4 in. (88.5 x 112.5 cm), unframed. Condition: Lined, retouch, skinning, craquelure, surface grime. $700-900 202 No lot.
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203 Flemish School, 17th/18th Century Elegant Lady with Jewels and Ermine Inscribed “S.V.L./P.V.S.” u.r. Oil on canvas, 12 1/4 x 9 7/8 in. (31.2 x 25.0 cm), framed. Condition: Lined, retouch, fine craquelure. $500-700 204 German School, 18th/19th Century Interior Half-length Portrait of a Young Girl Feeding Cherries to a Bird Unsigned, identified as “German School, Portrait of a Young Girl” on a modern label affixed to the stretcher. Oil on canvas, 20 1/4 x 16 1/2 in. (51.5 x 41.8 cm), unframed. Condition: Lined, retouch, craquelure, stretcher bar marks. $1,200-1,800
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205 School of Lucas Cranach the Elder (German, c. 1472-1553) Portrait of Katharina von Bora Inscribed “LC” c.r., inscribed “Lucas Cranach/ Katherine Bora” on a handwritten label on the frame, with a Berlin, Germany, conservator’s label dated 1890, a partial typed label identifying the subject, a partial paper label inscribed “W.D. Foulke,” and an unidentified red wax collector’s stamp on the reverse. Oil on panel, 12 7/8 x 10 in. (32.8 x 25.4 cm), framed. Condition: Areas of skinning, craquelure, scattered abrasions, surface grime. $7,000-9,000
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206 John Alexander (Scottish, c. 1690-c. 1765) Cosmus George 3rd Duke of Gordon Titled “COSMUS GEORGE 3rd DUKE of GORDON/AETATIS: 15” l.l., signed or inscribed and dated “ALEXANDER PINX’T 1735” l.r., titled and inscribed “CosmusGeorge-Duke of Gordon/Aetatis: 15/Alexr Pinxit A.D. 1735” on the reverse. Oil on canvas, approximately 30 x 25 in. (76.3 x 63.5 cm), framed. Condition: Lined, retouch, minor abrasions, surface grime. $3,000-5,000
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207 School of John Theodore Heins (British, 1697-1756) Wigged Gentleman in a Red Velvet Coat in a Feigned Oval Unsigned. Oil on canvas, 30 3/16 x 25 in. (76.7 x 63.5 cm), framed. Condition: Lined, retouch, scattered paint losses, surface abrasions, craquelure, surface grime. $1,200-1,800 208 School of Rosalba Carriera (Italian, 16751757) Bust Length Portrait of a Woman in Red Unsigned, attributed on a presentation plaque. Pastel on paper/board, sight size 23 3/8 x 17 3/4 in. (59.5 x 45.0 cm), framed. Condition: Not examined out of frame. Provenance: A Massachusetts estate. $1,500-2,000 207
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209 George Morland (British, 1763-1804) The Storm Signed “g. morland pinx.” l.l., identified on a presentation plaque. Oil on canvas, 34 x 46 in. (86.3 x 116.8 cm), framed. Condition: Lined, scattered retouch, fine scattered craquelure. Provenance: E. Burgess Warren, Philadelphia, 1899 (from a label from “...League of Philadelphia” on the stretcher); Sir A. Mortimer Singer; F. Ambrose Clark, by descent to the current owner. $7,000-9,000
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210 George Morland (British, 1763-1804) The Labourers’ Luncheon Signed “g morland” l.r. and “g. morland pinxt” on the front of the cart, identified on a presentation plaque. Oil on canvas, 28 x 36 1/2 in. (71.1 x 92.7 cm), framed. Condition: Lined, scattered retouch, fine stable craquelure.
Provenance: Sir A. Mortimer Singer; F. Ambrose Clark, by descent to the current owner. Literature: F. Ambrose Clark, The F. Ambrose Clark Collection of Sporting Paintings (New York: Privately Published by Chanticleer Press, Inc., 1958). Exhibitions: The Royal Academy, London, 1797, No. 805; Century Association, New York, 1941. $15,000-20,000
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211 Federico Andreotti (Italian, 1847-1930) Zither Player Signed “F. Andreotti� c.r., artist and title indicated on a label on the stretcher. Oil on canvas, 28 1/2 x 22 1/2 in. (72.3 x 57.1 cm), framed. Condition: Good. N.B. An essay about the artist and this painting, as well as photographs, accompany the lot. $6,000-8,000
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212 Louis Victor Le Gentile (French, 1815-1889) Going to Market Signed “V. le Gentile” l.l., stamped “R.C. & N.M. Vose Paintings/Boston...” on the reverse, titled in pencil and with a Doll & Richards, Boston, label affixed to the paper backing. Oil on panel, 5 1/2 x 8 in. (13.9 x 20.3 cm), framed. Condition: Minor abrasions along edges, minor yellowed varnish, paint surface stable. $1,000-1,500 213 Attributed to Kate Newenham Gray (British, fl. 1880-1920) Mother and Child at the Water’s Edge Signed “K Gray” l.c. Oil on canvas, 32 1/4 x 25 5/8 in. (82.0 x 65.0 cm), framed (in a liner). Condition: Lined, areas of old retouch, craquelure, stretcher bar marks, surface accretions and grime. $1,200-1,800
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214 Heinrich Hermann Schafer (German, 18151884) Two Village Square Scenes Both initialed “HHS� l.r. Oil on canvas, 16 x 12 in. (40.6 x 30.4 cm), in matching frames. Condition: Scattered retouch. Provenance: A private Florida collection. $1,000-1,500
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215 Heinrich Hermann Schafer (German, 18151884) Cathedral Interior—Milan Signed “H. Schafer” l.r., titled and signed on the reverse, label from Kurt E. Schon, Ltd., New Orleans, on verso. Oil on canvas, 27 x 22 in. (68.6 x 55.8 cm), framed. Condition: Good. Provenance: A private Florida collection. $1,500-2,000
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216 Alfred Arthur Brunel de Neuville (French, 1852-1941) Still Life with Currants and Peaches Spilling from a Basket Signed “Brunel Neuville” l.l. Oil on canvas, 21 1/8 x 25 1/2 in. (54.0 x 65.0 cm), framed. Condition: Frame abrasions, fine craquelure, minor surface grime. $1,000-1,500
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217 Edgar Bundy (British, 1862-1922) The Reluctant Donkey Signed and dated “Edgar Bundy 85” l.r. Oil on canvas, 20 x 30 in. (50.5 x 76.0 cm), framed. Condition: Lined, minor retouch, fine craquelure, surface grime. $2,000-3,000
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217A Franz Molitor (German, 1857-1929) Still Life with Fruit Signed and dated “Franz Molitor Ddrf 95” l.r. and inscribed “Franz Molitor/Dusseldorf 95” on the reverse. Oil on panel, 6 1/4 x 8 1/4 in. (15.9 x 20.9 cm), framed. Condition: Minor abrasions along edge, scattered retouch and surface grime. $1,000-1,500 218 Louis Charles Hippolyte Buhot (French, 1815-1865) Hebe and Jupiter’s Eagle Signed “C. Buhot” in the bronze at the edge of the base. Bronze with dark brown patina with gilt highlights, height 21 1/2 in. (54.6 cm). Condition: Minor dust/soiling to interstices. N.B. Includes a round black marble base adorned with chased bronze putti frieze, overall height with base 27 in. (68.5 cm). $2,000-3,000
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219 Florent Willems (Belgian, 1823-1905) Portrait of a Woman with a Fur-lined Coat Signed “F. Willems” l.r., label from “E. Magnien, Paris” and indiscernible stencil on verso. Oil on panel, 11 1/2 x 9 1/2 in. (29.2 x 24.1 cm), framed. Condition: Minor surface grime, old retouch near edges where frame abrasion occurred. N.B. An inscription on the reverse states that the painting is probably titled Le Frileuse as listed in Benezit. $700-900 220 Paul Seignac (French, 1826-1904) The First Argument Signed “Seignac” l.l. Oil on panel, 18 x 14 1/2 in. (45.7 x 37.0 cm), framed. Condition: Fine, stable craquelure. $3,000-5,000
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221 Napoleone Parisani (Italian, 1854-1932) Madonna and Child Signed or inscribed “Napoleone/Parisani/ Pittore/Roma/MCM” on the reverse. Oil with carved wood embellishments on cradled panel, 37 3/4 x 28 1/8 in. (96.0 x 71.5 cm), in a carved giltwood frame. Condition: Split to panel at l.c. and with several other hairline cracks, vertical striated damage with paint losses through the center. Provenance: Property from the estate of Sir Alasdair Munro of Lindertis, BT.
N.B. Napoleone Parisani was a member of a group of Italian and English landscape painters known as the Etruscan School, who, under the influence of Giovanni Costa, revived interest in painting the Italian landscape in the manner of Nicholas Poussin and Claude Lorraine. Their focus was to evoke the warm sentiments that the artists felt for their native land. While clearly not a landscape, Parisani’s Madonna and Child captures the same spirit of affection for the beauty and cultural traditions of his homeland. The painting does not appear to be a copy of a known work but a composition of the artist’s own invention. $3,000-5,000
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222 Charles Paul Gruppe (American, 18601940) Windmill, Holland Signed “C. P. Gruppe” l.l., artist’s biography affixed to verso. Oil on canvas, 12 3/4 x 20 in. (32.3 x 50.8 cm), framed. Condition: Surface grime, tiny flake losses at l.l. edge, small indention l.r., old spot of restoration in sky. $1,000-1,500 223 Franz Van Severdonck (Belgian, 1809-1889)
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Sheep with Chickens and Duck Signed and dated “F. Van Severdonck 1863” l.r., artist’s inscription on verso. Oil on panel, 7 x 9 in. (17.8 x 22.9 cm), framed. Condition: Good, scattered retouch. $1,000-1,500 223A Theodore Rousseau (French, 1812-1867) Crepuscule Nuageux Signed “TH.R” l.l., titled on an unattributed label affixed to the stretcher. Oil on canvas, 10 1/4 x 15 3/8 in. (26.0 x 39.0 cm), framed. Condition: Rippling to the canvas, discolored varnish, probable old retouch, areas of possible skinning, surface grime. Provenance: Rops Auction House, Belgium, January 26, 2014, Lot 1098. $2,000-3,000
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224 Jacques Janssens (Belgian, 1809-1898) Le Moulin à eau Signed “J. Janfsens” l.r. and inscribed “Le Moulin a eau/Jacq. Janfsens Anners 1899” on verso. Oil on canvas, 37 x 27 1/2 in. (93.9 x 69.8 cm), framed (in a liner). Condition: Craquelure and scattered retouch. Provenance: From the estate of artist Wayne Beam Morrell (1923-2013), Rockport, Massachusetts. $2,000-2,500 225 Karl Friedrich Thiele (German, 1780-1836) Goats, Sheep, and Rams in Mountainous Landscape Signed and dated “Thiele 1828” l.r. Oil on panel, 11 x 13 3/4 in. (27.9 x 34.9 cm), framed. Condition: New panel supporting original panel, tiny shrinkage cracks. $700-900
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226 Hermanus Willem Koekkoek (Dutch, 18671929) Soldier with a Saber Signed “HW Koekkoek” l.l., inscribed “Koekkoek/11410” on a label affixed to the back of the frame. Oil on panel, 10 5/8 x 8 1/8 in. (27.2 x 20.5 cm), framed. Condition: Surface grime. $1,200-1,800
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227 Victor Nehlig (French/American, 1830-1909)
228 Victor Nehlig (French/American, 1830-1909)
The Court Fool Signed “V. Nehlig 1864” l.r., titled on a presentation plaque. Oil on board, 9 1/4 x 12 1/2 in. (23.5 x 31.7 cm), framed. Condition: Yellowed varnish, minor surface grime.
The Bargain Signed “V. Nehlig” l.r., titled on a fragmentary label on the reverse of the frame. Oil on board, 17 1/2 x 23 in. (44.4 x 58.4 cm), framed (under glass). Condition: Good.
Provenance: A Massachusetts estate. $1,800-2,000
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Provenance: A Massachusetts estate. $1,200-1,500
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229 Frederic Sackrider Remington (American, 1861-1909) Jew Smugglers and Refugees in the Hands of the Dragoons, c. 1893 Signed “Frederic Remington” l.l., titled in inscription (probably in the artist’s hand) on the reverse, identified in inscriptions on the backing. Watercolor en grisaille on paperboard, 21 x 28 1/2 in. (53.3 x 72.4 cm), framed. Condition: Toning, unobtrusive surface rubs, losses at edges of sheet. Provenance: Collection of Mr. & Mrs. Ralph Trower, Brockton, Massachusetts, then by descent to current Massachusetts collector.
Literature: Hassrick, Peter and Webster, Melissa, Frederic Remington: A Catalogue Raisonné of Paintings, Watercolors and Drawings, Volume II (Seattle: Buffalo Bill Historical Center and University of Washington Press, 1996), illustrated No. 1748, p. 492; Harper’s Monthly, March 1894, illustrated p. 611; and Bigelow, Poultney, The Borderland of Czar and Kaiser (New York: Harper, 1895), illustrated p. 119. N.B. Born in Canton, New York, in 1861, Frederic Sackrider Remington showed artistic talent and interest at a young age. Son to a Civil War cavalry officer, Remington naturally had a fondness for horses and was a skilled rider. After briefly attending a military academy at age 15, Remington left to study art at Yale University in 1878.
Although initially enthusiastic, he soon became bored and restless with the tedious routine of art instruction and turned to athletics where he became the Yale boxing champion and a football player. After his father died in 1880, Remington traveled out West, where he studied local characters and histories, befriending cowboys, saloon keepers, soldiers, Indians, and William F. “Buffalo Bill” Cody, with whom he became great friends. Moving back to New York City, he began working as an illustrator while attending the Art Student’s League. Remington began receiving regular commissions for publications such as Harper’s Weekly and Century Magazine. The work presented here was published in the former, and reflects Remington’s roots as an illustrator and his breadth of subject matter well beyond subjects of the West. $25,000-35,000
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230 Ottorino Campagnari (Italian, 1910-1981) Varigotti, 1960 Monogram signature “OCampagnari” l.r., titled on the stretcher, identified and dated on a label from the Istituto Nazionale d’Arte affixed to the reverse. Oil on canvas, 21 1/4 x 41 in. (54.0 x 105.0 cm), framed (under glass). Condition: Good. N.B. Sold to benefit Grace Cottage Hospital, Townsend, Vermont. $2,500-3,500 231 Amadeo Count Preziosi (Maltese, 18161882) View towards Constantinople with Soldiers Resting Signed and dated “Preziosi/1851” l.r. Watercolor, pencil, and gouache on paper, sight size 13 1/4 x 20 1/2 in. (33.7 x 52.1 cm), framed. Condition: Toning, scattered foxing, subtle rippling, not examined out of frame. $1,200-1,800
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232 Giuseppe Carelli (Italian, 1858-1921) Figures on a Beach Along the Coast of Napoli Signed “G. Carelli Vito” l.r., stamped “Napoli” on the stretcher. Oil on canvas, 11 x 19 in. (27.9 x 48.3 cm), framed. Condition: Stretcher mark along the upper edge. N.B. The location of the view is Vico Equense, in the Bay of Naples. $1,000-1,500 232
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233 William Stanley Haseltine (American, 18351900) Row of Fishing Boats, Venice Unsigned, identified on two labels from Doll & Richards, Inc., Boston, affixed to the stretcher and frame. Oil on canvas, 13 7/8 x 25 in. (35.3 x 63.5 cm), framed. Condition: Dot of wax or similar to u.r. quadrant of the reverse corresponding to a small paint loss on the front u.l., old retouch, scattered minor paint losses and surface abrasions, tack holes to corners, subtle rippling, discolored varnish, surface grime. $4,000-6,000
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234 William Pye (English, fl. 1881-1917) Sliver of Sea & Sky Signed and dated “Will Pye 1917” l.l., titled on a label and inscribed “Rodwell Weymouth” on the stretcher. Oil on canvas, 24 x 36 1/2 in. (60.9 x 92.7 cm), framed. Condition: Lined, scattered retouch. $800-1,200 235 John Wilson (British, 1771-1855) 235
On the Beach by a Fishing Village Signed “J. Wilson” l.r., with several indiscernible wax seals on verso. Oil on canvas, 24 x 36 in. (60.9 x 91.4 cm), framed. Condition: Surface grime, frame abrasion, shrinkage cracks and craquelure throughout, minor older retouch. $800-1,200 236 Edmund Darch Lewis (American, 18351910) Crashing Waves Signed and dated “Edmund D. Lewis 1903” l.l. Watercolor and gouache on paper, sight size 21 x 32 1/2 in. (53.3 x 82.5 cm), framed. Condition: Unobtrusive toning, not examined out of frame. $700-900
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237 George Herbert McCord (American, 18481909) Rocky Coast with Crashing Surf Signed “G.H. McCord” l.l. Oil on canvas, 28 x 40 in. (71.1 x 101.6 cm), framed. Condition: Lined, frame abrasion, scattered retouch, surface grime. $800-1,200 238 Anglo/American School, 19th Century
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Moored Hulk Unsigned, inscribed “Robert and Mort Vose in 1965 attributed to Robert W. Salmon” on a label on the reverse. Oil on panel, 8 x 10 1/2 in. (20.3 x 26.6 cm), framed. Condition: Minor surface grime, fine craquelure and small crack to panel u.l. corner. Provenance: From the estate of artist Wayne Beam Morrell (1923-2013), Rockport, Massachusetts. $1,000-1,500 239 Henry Pember Smith (American, 18541907) A Vessel on the Horizon Signed and dated “Henry P. Smith ‘85” l.r. Oil on panel, 10 x 16 in. (25.4 x 40.6 cm), framed. Condition: Good. $2,000-3,000
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240 Thomas Sully (American, 1783-1872) Portrait of Mary Bermingham, Countess Lietrim Unsigned, identified on a label from Newhouse-Galleries, New York, on the frame backing. Oil on canvas, 20 x 16 1/2 in. (51.3 x 44.8 cm), framed. Condition: Lined, retouch, fine stable craquleure.
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Provenance: Estate of Mr. and Mrs. Kay Kimball, Fort Worth, Texas; Sotheby’s New York, American 18th, 19th, & 20th century paintings, drawings and sculpture and American decorative prints, January 27, 1984, Lot 338; through to the current owner. $8,000-12,000
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241 Childe Frederick Hassam (American, 18591935) Dandy Original illustration tipped into frontispiece of Three Cities, an early monograph of Childe Hassam’s work. Signed “Childe Hassam” in ink on the frontispiece and titled l.l. Ink and watercolor on heavy paper, 6 1/4 x 6 in. (15.8 x 15.2 cm), overall size of book 14 x 19 in. (35.5 x 48.3 cm). Condition: Illustration good; original monograph rebound in hardcover; labels inscribed “The Misses Lamb,” “Miss Ammie Lamb,” and “Miss Rosamond Lamb” on frontispiece.
Provenance: Rosamond and Aimee Lamb, Boston, through to a Maine auction c. 1980, to the present Massachusetts collector. N.B. This work is to be included in the forthcoming catalogue raisonné of the works of Childe Hassam being compiled by Hirschl & Adler Galleries.
The “Misses Lamb” refer to Boston artist Aimee Lamb and her younger sister Rosamond, both patrons and philanthropic contributors of the arts. The Lamb sisters were children at the time of the monograph’s publishing, however, their aunt Rose Lamb was a good friend of Hassam’s. The book may have been a gift from the aunt to her nieces. $15,000-25,000
Three Cities was published in 1899 by R.H. Russell Company, New York. The rare oversized book contains no text, rather a collection of black and white reproductions of Hassam’s urban paintings, watercolors, and drawings in three sections: New York, London, and Paris.
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242 Martin Johnson Heade (American, 18191904) Pink Rose Signed and dated “MJ Heade/1878.” l.l. Oil on canvas, 15 1/4 x 10 1/4 in. (38.8 x 26.0 cm), framed. Condition: Lined, minor retouch, areas of possible skinning. Provenance: Sir Morton Peto, Estate of Charlotte M. Ober, to a Private Collection, to Christie’s New York, December 6, 1991, Lot 63, through to the current owner by family descent. Literature: Stebbins, Theodore E., Martin Johnson Heade, Janet L. Comey, and Karen E. Quinn, The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné (New Haven: Yale University Press, 2000), no. 460. N.B. Martin Johnson Heade was born in 1819 in rural Pennsylvania, and began painting at the age of eighteen. He spent the next forty years traveling around the United States as well as going abroad to Europe to paint. In 1858, he moved to New York City and settled into the Tenth Street Studio Building, where he painted alongside many of the leading painters of the Hudson River School. His landscapes from this period clearly show this influence, although he was less interested in conventional scenes of natural beauty and often chose to paint eastern salt marshes instead. He also began painting still lifes when he moved to New York; these mainly consisted of arrangements of flowers in vases. In his later years, he began to paint magnolias and roses in a different manner, reclining on a table instead of in a vase and by themselves instead of amongst other types of flowers. These later still lifes also reflect a great attention to detail, surprising for an artist near the last years of his life.1
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1. Stebbins, Theodore E. Jr., Martin Johnson Heade (Boston: Museum of Fine Arts, 1999).
$50,000-70,000
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243 Levi Wells Prentice (American, 1851-1935) Still Life with Peaches in a Silver Bowl Signed “L.W. Prentice” l.r., also originally signed “L.W. Prentice” on the reverse. Oil on canvas, 12 x 18 in. (30.6 x 40.8 cm), framed. Condition: Lined, minor retouch, possible small abrasion to l.c. Provenance: Christie’s New York, Important American Paintings, Drawings, and Sculpture of the 19th and 20th Centuries, June 1, 1984, Sale No. HELEN-5580, Lot 61. $18,000-22,000
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244 Lockwood De Forest (American, 18501932) Child Glacier, Copper River, Alaska Initialed “L.de F.” l.l., inscribed with title and “Miss Ednah A. Rich with best wishes Lockwood de Forest” on verso. Oil on board, 9 3/4 x 14 in. (24.7 x 35.5 cm), framed. Condition: Surface grime and abrasions. N.B. The lot is accompanied by photocopies from A Collection of Paintings by Lockwood de Forest, N.A., an exhibition catalog from the City Art Museum of St. Louis, dated May 4, 1913. Three works titled “Child Glacier, Copper River” are listed as part of this exhibition. $800-1,200 244A James David Smillie (American, 1833-1909) Woman Admiring an Autumn Vista Monogrammed and dated “JS 67” l.l., signed or inscribed and dated “J.D. Smillie/May 1867” on verso. Oil on board, 6 1/4 x 5 in. (15.8 x 12.7 cm), framed. Condition: Surface grime, minor retouch at upper edge, abrasion at right edge. Provenance: A private Florida collection. $800-1,200 244A
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245 Sanford Robinson Gifford (American, 18231880) Hudson River Marshes, A Study Unsigned, stamped “S.R. Gifford SALE” in red in a circular format on the reverse. Oil on canvas, 5 x 10 3/16 in. (12.7 x 25.9 cm), framed. Condition: Scattered minor paint losses, minor surface grime. Provenance: A private California collection.
N.B. This unsigned marsh view is surely related to Sanford Gifford’s Marshes on the Hudson (1878, private collection), included in the Metropolitan Museum of Art’s exhibition Hudson River Visions in 2003. Writing in the exhibition catalog, Dr. Franklin Kelly noted that the point of view is Piermont, New York, on the west shore of the Hudson River, looking to Hook Mountain, part of Nyack, New York, at the left. The stamp on the reverse of the painting at hand appears to indicate it was part of the 1881 Gifford estate sale, and it is most likely one of two undated pictures referenced as “Hudson River Scenery” (5 x 9 1/2 in.) and “On the Hudson” (6 x 11 in.), respectively nos. 54 and 97 in the Friday, April 15, 1881 sale of the Catalogue of Valuable Oil Paintings... Sanford R. Gifford (New York: Thomas E. Kirby, 1881). The two works are also listed in the Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A. (New York: The Metropolitan Museum of Art, 1881), p. 34, nos. 472, 473, titled respectively “A Sketch of
Hudson River Scenery” and “A Sketch on the Hudson.” The discrepancy between the sizes given for those works and the painting at hand has been found to be common between the measurements listed in the catalog and those of the originals. The oil sketch at hand must be among the earliest studies prefiguring the 1878 painting (exhibited that year at the National Academy of Design) and has the hallmarks of a work done on site. An estimate for the date of execution would be 1876. We would like to thank Dr. Kevin J. Avery, Senior Research Scholar, The Metropolitan Museum of Art, New York, for his assistance with the research for this entry. $8,000-12,000 .
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246 John Henry Hill (American, 1839-1922) Broad Landscape with River and Distant Mountains Signed and dated “J.H.HILL 1860” l.r. Oil on canvas, 8 1/2 x 12 3/8 in. (21.6 x 31.5 cm), framed. Condition: Patch reinforcement, old retouch, minor paint losses, craquelure, surface grime. Provenance: A private California collection. $1,000-1,500
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247 Andrew Fisher Bunner (American, 18411897)
248 Frank Henry Shapleigh (American, 18421906)
Fourteen Mile Island, Lake George Unsigned, identified on a presentation plaque. Oil on canvas, 16 1/8 x 32 in. (41.0 x 81.2 cm), framed. Condition: Lined, retouch, craquelure, surface grime.
Mt. Washington from the Ammonoosuc River Signed and dated “F.H. Shapleigh 1890” l.r., signed and titled on the verso. Oil on board, 7 1/2 x 12 1/2 in. (19.0 x 31.7 cm), framed. Condition: Good. $1,000-1,500
Provenance: Christie’s New York, June 1, 1984, Lot 25. $1,500-2,000
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249 Thomas Moran (American, 1837-1926) Coast of Monterey Monogram signed and dated “TMORAN.1912.” l.r., titled on a presentation plaque. Oil on canvas, 25 1/8 x 30 in. (63.8 x 76.3 cm), framed. Condition: Minor surface grime. Provenance: Descended within a New England family. N.B. Thomas Moran is considered to be one of the most important late 19th century American landscape painters. Born in England, Moran’s family settled in Philadelphia in 1844. The young man grew up without formal art training, although he was apprenticed to a wood engraver as a teenager, and this experience informed his understanding of light and dark contrasts, used with such stunning effect in his mature oils. Philadelphia offered a rich artistic milieu, and the Moran family actually produced three artists, including Thomas, his older brother Edward, who was noted marine painter, and his younger brother Peter. As a young artist, Thomas Moran was greatly influenced by the atmospheric landscapes and seascapes of Joseph Mallord William Turner. He was first introduced to these works by Philadelphia artist and mentor James Hamilton. Later Moran studied Turner firsthand on several trips to Europe.
A significant chapter for Moran began with his travels to the American west, the subject matter for which he is best known today. In the early 1870s, he was named the official artist of the expedition of Dr. Ferdinand Hayden to the Yellowstone region. There Moran made sketches and watercolors of the topography to accompany the expedition’s report and which served as inspiration for his dramatic oil landscapes of the region that followed. One such oil painting, The Grand Canyon of the Yellowstone, was purchased by Congress in 1872, and it is widely acknowledged that Moran’s works were critical to the decision of Congress to create Yellowstone National Park. Magnificent paintings of the American west would become Moran’s hallmark, conveying the grandeur, mystique, and power of the mountains with luminous color effects and strong contrasts of light and shadow. Moran lived on the east coast for much of his career, including time in New York City and also in East Hampton, Long Island. However, he was an avid traveler, making four trips to Europe, including time in Venice, between 1880 and 1910, as well as frequent painting trips to the west and California. Moran painted in the Yosemite Valley, in the Sierra Nevada and Lake Tahoe areas, and in the Teton Mountains of Wyoming, where Mount Moran was named in his honor. The draw to California was strong, and Moran began spending summers there by 1916, moving permanently to Santa Barbara in 1922. This painting will be included in Stephen L. Good and Phyllis Braff’s forthcoming catalogue raisonné of works by Thomas Moran. $250,000-350,000
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250 Bryant Chapin (American, 1859-1927) Still Life with Apples Signed and dated “Bryant Chapin ‘09” l.r. Oil on canvas, 14 x 20 in. (35.5 x 50.8 cm), framed. Condition: Surface grime, varnish inconsistencies. $2,000-3,000 251
251 Charles S. Mills (American, fl. 1845-1883) Still Life with Raspberries Signed and dated “C.S. Mills 1892” l.r. Oil on canvas, 14 x 17 in. (35.5 x 43.2 cm), framed. Condition: Surface grime, small flake losses. $600-800 252 Bryant Chapin (American, 1859-1927) Still Life with Strawberries Signed and dated “Bryant Chapin 1909” l.r. Oil on canvas, 13 x 17 in. (33.0 x 43.2 cm), framed. Condition: Surface grime, stretcher marks, small losses in center, minor retouch. N.B. Previous owner’s label on verso of frame reads “Isabel C. Bowen, Westport, Mass.” $1,200-1,800
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253 William Aiken Walker (American, 18391921) Couple with Ox Cart Signed “W.A. Walker” l.r., bears A.B. Closson Art Dealers label on the reverse. Oil on board, 10 x 6 in. (25.4 x 15.2 cm), framed. Condition: Surface grime, paint loss u.c. $4,000-6,000 253A Attributed to George Henry Hall (American, 1825-1913) Lilacs in a White Porcelain Vase Signed indistinctly and dated “...61” l.l., inscribed “Mrs. Jane E. Bullard” on a label affixed to frame verso. Oil on board, 11 3/4 x 9 in. (29.8 x 22.8 cm), framed. Condition: Minor retouch along edges. $700-900
253A
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254 Harvey Otis Young (American, 1840-1901) Native American Encampment Signed and dated “By H. YOUNG ‘74” l.r. Oil on canvas, 17 x 30 in. (43.1 x 76.2 cm), framed. Condition: Surface grime, large craquelure, old restoration l.r. Provenance: A Massachusetts estate. $1,500-2,000
255 Henry Nesbitt McEvoy (Canadian, 18281914)
256 Aaron Draper Shattuck (American, 18321928)
View in Ravine...Dundas Titled, signed, and dated “View of.../H. Nesbitt McEvoy Artist/1882” on the stretcher. Oil on canvas, 18 x 30 1/8 in. (45.8 x 76.8 cm), framed. Condition: Lined, scattered retouch, fine craquelure, surface grime. $1,200-1,800
Mt. Washington Signed “A.D. Shattuck” l.r., titled on a label affixed to the frame verso. Oil on panel, 8 x 12 in. (20.3 x 30.5 cm), framed. Condition: Discolored varnish, minor surface grime. Provenance: A Massachusetts estate. $2,000-2,500
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257
257 John Whorf (American, 1903-1959) Fishing Below the Falls, Maine Signed “John Whorf� and titled on verso. Watercolor and gouache on paper, 15 3/4 x 22 in. (40.0 x 55.8 cm), framed. Condition: Subtle toning, sheet taped to front mat. Provenance: A Massachusetts estate. $3,000-5,000
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258 Gunnar M. Widforss (Swedish/American, 1879-1934) Grand Canyon Signed “Widforss� l.r. Watercolor on paper, sight size 14 3/4 x 24 1/2 in. (37.5 x 62.2 cm), framed. Condition: Subtle toning or fading, sheet sandwiched between two mats. $6,000-8,000
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259 John Joseph Enneking (American, 18411916) Nibbling By Day Signed and dated “Enneking ‘96” l.r., titled on the stretcher, identified on labels including one from the Pierce Catalogue Raisonne (#IV-C214.4) and one from the Museum of Fine Arts, Boston, affixed to the frame. Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed. Condition: Boston tabs, surface grime, pinholes to corners. Provenance: From a Massachusetts estate. $4,000-6,000
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260 John Joseph Enneking (American, 18411916) Trout Brook Signed and dated “Enneking ‘95” l.r., identified on labels including one from the Museum of Fine Arts, Boston, the Pierce Galleries Catalogue Raisonné label (#IV-B-240.4) affixed to the frame. Oil on canvas, 22 x 30 in. (55.8 x 76.2 cm), in a signed Feliciano Nemiccolo frame. Condition: Boston tabs, scattered paint loss l.r. Provenance: A Massachusetts estate. $3,000-5,000
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261 William Merritt Post (American, 1856-1935) Winter Stream at the Meadow’s Edge Signed “W. Merritt Post” l.l. Oil on canvas, 14 1/4 x 20 in. (36.1 x 50.8 cm), framed. Condition: Signature possibly reinforced. $800-1,200 262 No lot.
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263 Louis Michel Eilshemius (American, 18641941) Yonkers, Palisades, N.Y. Signed “Eilshemius” l.l., signed, dated, and titled “.../Eilshemius/1908” on the reverse. Oil on panel (cigar box top), 5 1/4 x 8 7/16 in. (13.4 x 21.4 cm), framed. Condition: Minor retouch, warping to the panel. $700-900
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264 Thomas Bigelow Craig (American, 18491924)
265 John Appleton Brown (American, 18441902)
Summer on a County Lane Signed “Thom B Craig...” l.l., signed, titled, and dated “Thom B Craig/Summer on a Country Lane/1886” on the reverse. Oil on canvas, 15 3/8 x 24 3/8 in. (39.0 x 62.0 cm), framed. Condition: Scattered retouch, craquelure. $1,500-2,000
The Duck Path Signed “J. Appleton Brown” l.r. Pastel on paper/board, 13 1/2 x 17 1/4 in. (34.3 x 43.8 cm), framed. Condition: Not examined out of frame. $3,000-4,000
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266 Adam Sherriff Scott (Canadian, 1887-1980) Snowshoeing Signed “A. Sherriff Scott” l.r. Oil on board, 15 x 12 in. (40.6 x 30.5 cm), framed. Condition: Minor surface grime. $800-1,200 267 Adam Sherriff Scott (Canadian, 1887-1980) Canoeing the Rapids Signed “A. Sherriff Scott” l.r. Oil on board, 15 x 12 in. (38.1 x 30.5 cm), framed. Condition: Minor surface grime. $1,800-2,200
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268 Edwin Willard Deming (American, 18601942) The Archery Lesson Monogram signature “E.W.Deming� l.l. Oil on board, 25 x 36 in. (63.5 x 91.4 cm), framed. Condition: Surface grime, restoration along upper edge, minor retouch to sky. Provenance: Dr. James Coughlan, New York; to the current owner. $3,000-5,000 269 American School, 20th Century Man Returning to Adobe Unsigned. Oil on canvas, 18 x 21 1/2 in. (45.7 x 54.6 cm), framed. Condition: Surface grime, yellowed varnish. $700-900
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270 Robert Verity Clem (American, 1933-2010)
271 Robert Verity Clem (American, 1933-2010)
Cardinals in the Snow Signed “Robert Verity Clem” l.r. Watercolor and gouache on paper, sight size 20 x 23 1/2 in. (50.8 x 59.7 cm), framed. Condition: Minor soiling at l.r. corner. $2,000-3,000
Black Ducks Signed and dated “Robert Verity Clem 1971” l.r. Watercolor on paper, sight size 13 1/2 x 28 in. (34.2 x 71.1 cm), framed. Condition: Not examined out of frame. $1,500-2,000
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272 Robert Verity Clem (American, 1933-2010)
273 Robert Verity Clem (American, 1933-2010)
Mallards in Autumn Signed “Robert Verity Clem” l.r. Watercolor on paper, sight size 14 x 21 in. (35.5 x 53.3 cm), framed. Condition: Not examined out of frame. $1,500-2,000
Hawk and Pine Signed and dated “Robert Verity Clem 1974” l.l. Watercolor on paper, sight size 9 3/4 x 13 1/2 in. (24.7 x 34.2 cm), framed. Condition: Not examined out of frame. $1,000-1,500
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274 Stephen Maxfield Parrish (American, 18461938) The Rocky Grove, Cornish Signed “Stephen Parrish” l.r. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Surface abrasion, retouch to sky. Provenance: From “Northcote,” the home and studio of Stephen Parrish in Cornish, New Hampshire, acquired by the family of the current owner in the mid-1960s.
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N.B. This lot came from Stephen Parrish’s Cornish, New Hampshire, home and studio, “Northcote,” which was purchased and restored in the mid-1960s. The house was designed by Philadelphia architect Wilson Eyre and was built for Stephen Parrish as his summer home and studio in 1897. The house is located on a ridge overlooking the Connecticut River off Lang Road. Stephen’s son, Maxfield built his home, “The Oaks,” on an adjacent ridge in Plainfield, New Hampshire. Other neighbors included artists Charles Platt and Augustus St. Gaudens. Later residents included J.D. Salinger, who also lived on Lang Road. $3,000-5,000
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275 Stephen Maxfield Parrish (American, 18461938) A Landmark Signed “Stephen Parrish” l.c., titled on verso. Oil on canvas, 15 x 21 in. (38.1 x 53.3 cm), framed. Condition: Lined, scattered retouch. Provenance: From “Northcote,” the home and studio of Stephen Parrish in Cornish, New Hampshire, acquired by the family of the current owner in the mid-1960s. $2,000-3,000 276 Stephen Maxfield Parrish (American, 18461938)
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Tree, San Ysidro, California Unsigned, inscribed “San Ysidro” u.r. Pencil and crayon on paper, 10 x 13 3/4 in. (25.4 x 34.9 cm), unframed. Condition: Minor discoloration to paper. Provenance: From “Northcote,” the home and studio of Stephen Parrish in Cornish, New Hampshire, acquired by the family of the current owner in the mid-1960s. $1,200-1,800
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277 Emile Albert Gruppé (American, 1896-1978) Boat Landing Signed “Emile A. Gruppé” l.l., inscribed “Boat Landing by Emile A. Gruppé” on verso. Oil on canvas, 16 x 16 in. (40.6 x 40.6 cm), framed. Condition: Surface grime, minor canvas buckle. $3,000-5,000 278 Emile Albert Gruppé (American, 1896-1978) Schooners in Harbor Signed “Emile A. Gruppé” l.l. Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm), framed. Condition: Surface grime. $4,000-6,000
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279 Jane Peterson (American, 1876-1965) North Shore Harbor View Signed “Jane Peterson� l.r. Oil on canvas, 24 x 30 in. (60.9 x 76.2 cm), framed. Condition: Minor surface grime, with several minor paint losses, surface scratch along bottom l.l.
Provenance: Collection of Mr. & Mrs. Ralph Trower, Brockton, Massachusetts, then by descent to the current Massachusetts collector. N.B. Sold to benefit a Massachusetts nonprofit institution. $70,000-90,000
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280 Henry Martin Gasser (American, 19091981) Summer Dock Signed “H. Gasser” l.r., titled on verso. Watercolor, sight size 14 x 21 1/2 in. (35.5 x 54.6 cm), framed. Condition: Not examined out of frame. $2,000-3,000 281 Attributed to John Whorf (American, 19031959)
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Boatyard Signed or inscribed “John Whorf” l.r. Oil on board, 13 x 15 1/2 in. (33.0 x 39.5 cm), framed. Condition: Scattered craquelure, minor losses along edges and at u.r. corner, surface grime. N.B. This small work, which appears to have been painted on wallboard, has all the characteristics of works done by students at the Hawthorne (Hensche) School in Provincetown, Massachusetts. John Whorf was a student there between about 1918 and 1921. Charles Hawthorne was a gifted and influential teacher. This oil sketch is done in what Hawthorne called the “mud head method,” where the concentration was on the relationships between big blocks of color. The student works were often done on beaverboard, and in most cases they were not signed. Hawthorne discouraged the signatures because the paintings were intended as an exercise that was to be presented anonymously for critique. Sometimes the artists scribbled their names on the back of the work to distinguish them from the work of other students painting the same subject on the same day. To save money the students would also scrape the beaverboard clean afterwards so it could be used again. It is possible that Whorf could have signed this work after the fact, if he were giving it to a friend or acquaintance.
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We would like to thank Amy Whorf McGuiggan for her kind assistance cataloging this lot. $1,000-1,500
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282 Henry Martin Gasser (American, 19091981) Summer Yard Signed “H.Gasser” l.r., titled and signed “.../HENRY GASSER” on the reverse. Watercolor on paper, 14 9/16 x 21 1/8 in. (37.0 x 53.7 cm), framed. Condition: Subtle handling creases, mild mat burn, glue residue around the perimeter of the reverse from an old mounting. $2,000-3,000 283 Thomas Adrian Fransioli (American, 19061997)
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Lauren Street, Charleston Initialed and dated “T.F. 1951” l.r., titled on the stretcher. Oil on canvas, 22 1/4 x 26 in. (56.5 x 66.0 cm), framed. Condition: Surface grime, paint cracking under surface u.c. $3,000-4,000
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284 Gerrit Albertus Beneker (American, 18821934) Wellfleet in Winter Signed and dated “Gerrit A. Beneker 1926” l.l., titled, signed, and dated “.../by GERRIT A. BENEKER 1926” on the reverse, identified on a partial exhibition label tacked to the stretcher. Oil on canvas, 16 x 20 in. (40.6 x 50.9 cm), framed. Condition: Craquelure, scattered small paint losses, surface accretions and grime. $7,000-9,000
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285 Max Kuehne (American, 1880-1968) Rockport Harbor Signed “Kuehne� l.r. Oil on Masonite, 27 1/2 x 36 in. (69.5 x 91.0 cm), in an original Kuehne frame. Condition: Minor retouch. $15,000-25,000
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286 Emile Albert Gruppé (American, 1896-1978)
287 Emile Albert Gruppé (American, 1896-1978)
288 Emile Albert Gruppé (American, 1896-1978)
Fog, Gloucester Signed “Emile A. Gruppé” l.r., title inscribed on verso. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Surface grime, minor canvas buckle. $4,000-6,000
Lobstermen at Dock on a Foggy Day Signed “Emile A. Gruppé” l.r. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Yellowed varnish, paint loss l.l. $5,000-7,000
Italian Docks, Gloucester Signed “Emile A. Gruppé” l.r., titled in pencil on the stretcher. Oil on canvas, 25 x 30 in. (63.5 x 76.3 cm), in the original frame. Condition: Areas of fine craquelure. Provenance: Purchased from the artist c. 1950. $6,000-8,000
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289 Peter Bela Mayer (American, 1887-1993)
290 Emile Albert Gruppé (American, 1896-1978)
291 Maurice Braun (American, 1877-1941)
New Jersey Hills in Autumn Signed indistinctly l.l., identified on an exhibition label on the reverse. Oil on canvas, 25 x 30 in. (65.5 x 76.2 cm), framed. Condition: Surface grime, patch on verso corresponding to small restoration.
The Road to the Village Signed “Emile A. Gruppé” l.r., signed and titled on verso. Oil on canvas, 25 x 25 in. (63.5 x 63.5 cm), framed. Condition: Minor surface grime. $6,000-8,000
Connecticut in Winter Signed “Maurice Braun” l.l., titled “Conn. in Winter” on the stretcher. Oil on canvas, 25 x 30 in. (63.5 x 76.3 cm), framed. Condition: Craquelure in areas of heaviest impasto, minor surface grime. $10,000-15,000
Exhibitions: Peter Bela Mayer: American Impressionist, Nassau County Museum of Fine Art, February 7–April 8, 1984. $5,000-7,000
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292 Oscar Florianus Bluemner (American, 1867-1938) Sunset, Gutenberg, N.J., 1909 Signed and dated “O Blümner/-09” l.l., identified on labels from Barbara Mathes Gallery, Inc., New York, The New York Cultural Center, and The Corcoran Gallery of Art (see below) affixed to the frame backing. Watercolor on paper, 7 1/8 x 10 in. (18.1 x 25.4 cm), framed. Condition: Minor rippling to sheet, minute tack hole at u.c. edge, not examined out of frame.
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Provenance: Acquired from the artist by J.B. Neumann, Estate of J.B. Neumann, through to James G. Dyett (1988), Buffalo, New York, to April Dyett Norton. Literature: Hayes, Jeffrey R., Oscar Bluemner: Life, Art, and Theory, Ph.D. Dissertation, University of Maryland, 1982, pp. 38-40, and fig. 10, p. 440 (illus. b&w); Haskell, Barbara, Oscar Bluemner, and Ulrich Birkmaier, Oscar Bluemner: A Passion for Color (New York: Whitney Museum of American Art, 2005), fig. 27, p. 34 (illus.).
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Exhibitions: Oscar Bluemner: American Colorist, Fogg Art Museum, Cambridge, Massachusetts, October 11–November 15, 1967, Plate III, No. 5 (illus. b&w); Oscar Bluemner Paintings, Drawings, The New York Cultural Center, New York, in association with Fairleigh Dickinson University, December 16, 1969–March 8, 1970, No. 2 (illus. b&w); Oscar Bluemner: A Retrospective Exhibition, March 16–May 4, 1985, Barbara Mathes Gallery, Inc., New York, cat. no. 3 (illus.); Oscar Bluemner: Landscapes of Sorrow and Joy, The Corcoran Gallery, December 18, 1988–February 19, 1989, Amon Carter Museum, March 18–May 14, 1989, New Jersey State Museum, June 16–September 4, 1989, illustration no. 15, p. 24 (b&w). $8,000-12,000
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293 Hayley Lever (American, 1876-1958) Mountain Landscape with Lake, Woodstock, New York Signed “Hayley Lever” l.r. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Lined, minor retouch. Provenance: Christie’s East, October 1, 1998, Lot 142. $12,000-18,000
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295A
294 John Joseph Enneking (American, 18411916) North Newry Maine Signed “Enneking” l.r., inscribed “North Newry Maine/JJ Enneking/...” on verso. Oil on board, 10 x 7 in. (25.4 x 17.8 cm), framed. Condition: Minor surface grime, scattered retouch. $2,500-3,500
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295 American School, 19th/20th Century
295A Carl William Peters (American, 1897-1980)
Woman Sewing at the Forest’s Edge Unsigned. Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed. Condition: Good, Boston School tabs.
Sheep at Pasture Unsigned, estate stamp on verso signed “Elaine Peters Woodbury” and numbered “100-A.” Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), unframed. Condition: Minor surface grime. $1,000-1,500
Provenance: A New Jersey estate. $1,200-1,800
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296 Robert William Vonnoh (American, 18581933) After the Leaves Fall Signed “Vonnoh” l.r., identified and titled on a presentation plaque. Oil on canvas, 17 x 22 in. (43.1 x 55.8 cm), framed. Condition: Lined, minor retouch. $1,500-2,000 297 Francis I. Bennett (American, 1876-1953) 297
On a Quiet Beach Signed “F.I. Bennett” l.l. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed. Condition: Surface grime, patch on verso with corresponding restoration, scattered retouch, minor cracking, canvas buckle. $2,000-2,500
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298 William Glackens (American, 1870-1938) A Cape Cod Shore, 1908 Signed “W. Glackens” l.l., identified and dated on an unattributed label, on a label from Kraushaar Galleries, New York, and on exhibition labels from the City Art Museum of Saint Louis and the National Collection of Fine Arts/Smithsonian Institution (see below), all affixed to mat board stapled to the frame backing. Oil on canvas, 25 1/4 x 30 1/4 in. (64.0 x 76.5 cm), framed. Condition: Lined, retouch, signature possibly reinforced, craquelure. Provenance: Descended within a Massachusetts collecting family. Exhibitions: William Glackens in Retrospect, City Art Museum of Saint Louis, November 18–December 31, 1966; National Collection of Fine Arts, Smithsonian Institution, February 1–April 2, 1967; Whitney Museum of American Art, April 25–June 11, 1967; cat. no. 29 (b&w illus.). N.B. William Glackens studied at the Pennsylvania Academy of the Fine Arts and later moved to New York City, where, with his friend and colleague Robert Henri, he cofounded what came to be called the Ashcan School. This group of artists, also known as The Eight, defied the art establishment’s practice of juried exhibitions and organized their own showings of works that explored the nitty-gritty of city life. Like Robert Henri and John Sloan, Glackens also worked as an illustrator for newspapers and magazines in Philadelphia and New York City, an experience that served to sharpen his eye for the details of daily life. Glackens participated in the first exhibition of The Eight at Macbeth Gallery in 1908.
Glackens drew his favorite subject matter from daily life, but he tended to avoid the grittier city subjects of his Ashcan School colleagues. He preferred more middle class subject matter featuring people enjoying parks, beaches, theater, and shopping. He also painted the seaside resorts of Cape Cod and Long Island, particularly Bellport where he spent summers with his family. While his earlier works of the 1890s had displayed a somber palette, his colors brightened under the influence of Impressionism, earning him the nickname “The American Renoir.” Glackens had an impact on the art scene in the United States that went beyond his own paintings. He was a childhood friend of Albert C. Barnes, and in 1912 the philanthropist sent Glackens on a buying trip to Europe where he purchased many of the Impressionist and post-Impressionist works that became the nucleus of the Barnes Collection. Glackens was also a founder of the American Association of Painters and Sculptors, organizers of the Armory Show in 1913, and served on the American art selection committee for that landmark exhibition. Glackens was married to Edith Dimock, a student of William Merritt Chase and an exhibitor in the Armory Show. $250,000-350,000
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299 Eugène Boudin (French, 1824-1898) Fishing Ketch on the Shore Signed “Boudin” in crayon l.l. Watercolor and graphite on paper, 5 1/8 x 8 5/8 in. (14.0 x 21.7 cm), framed. Condition: Scattered small fox marks, affixed to window mat with tape around the perimeter of the reverse.
300 William Samuel Horton (American, 18651936) Quarry at Noiet Signed “Horton” l.r., titled and dated “1903” on verso. Oil on panel, 8 1/2 x 11 3/4 in. (21.5 x 29.8 cm), framed. Condition: Good. $2,000-2,500
Provenance: Ex collection of the Pierre Dupont family, Delaware. $4,000-6,000
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301 Maurice Brazil Prendergast (American, 1858-1924) Donkey Rider, c. 1920-23, alternately titled On the Beach Signed “Prendergast” l.r. Watercolor on paper, 9 x 12 in. (22.8 x 30.3 cm), framed. Condition: Acid burn, gentle toning, subtle staining, some areas of thinning to sheet in u.r. quadrant, tack holes to each corner, hinged to back mat in two places on the top edge of the reverse. Provenance: From the artist to his brother Charles; to Hamilton Basso, 1946; to Etolia Basso; to a private collection, 1984; Christie’s New York, September 23, 1992 Lot 135; through to the current owner by family descent.
Literature: Carol Clark, N.M. Mathews, and G. Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné (Williamstown, Massachusetts: Williams College Museum of Art, 1990), cat. no. 1376 (titled Donkey Rider), p. 541 (illus.). N.B. Maurice Prendergast was born in Newfoundland, but he grew up in Boston where his family moved in 1868. The young artist was untrained, gaining an early familiarity and facility with watercolor when he served as an assistant to a poster painter. Prendergast would continue to work in watercolor throughout his life, expanding his mediums to include works in oil after about 1915 and creating many monotypes between 1892 and 1905. After trips to England and the continent in the 1880s, Prendergast began to develop a style based on avant-garde European trends. He received formal instruction in painting between 1891 and 1894, studying in Paris at the Atelier Colarossi and the Academie Julian. He became familiar with contemporary French
painters, especially the Symbolists and the Nabis, whose paintings combined abstraction and naive art, and, in the hands of artists like Bonnard and Vuillard, delighted in the play of patterned surfaces. He returned to Paris in 1907 where he was introduced to the works of Henri Matisse and other Fauve artists whose style and palette would be an inspiration throughout Prendergast’s career. In 1908 Prendergast joined in the forming of The Eight, who rejected the structure of the academies in favor of a fresher approach focusing on urban scenes. While Henri, Sloan, and Shinn explored the slums, tenements, and burlesque theaters of New York, Prendergast preferred to paint the leisure activities of the middle and upper classes. He also loved the seaside and the festivity of ocean resorts. He often painted crowds in scenes of parks and beaches, the pursuits of the various individuals subservient to the overall decorative style, with daubs of color arranged in scintillating patterns and flattened forms emphasizing bold contours. $25,000-35,000
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302 Henry Martin Gasser (American, 19091981) Houses in a Snowy Landscape Signed “H. Gasser” l.r. Watercolor on paper, sight size 21 3/4 x 30 in. (55.2 x 76.2 cm), framed. Condition: Good, not examined out of frame. $2,000-3,000
302A Carl William Peters (American, 1897-1980)
303 John Whorf (American, 1903-1959)
Barn in Winter Signed “Carl W. Peters” l.l., numbered “105-A” on verso. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), unframed. Condition: Retouch along bottom edge. $1,200-1,800
Trinity Church, Copley Square in Winter Signed “John Whorf” l.r. Watercolor and gouache on paper, sight size 21 x 29 1/2 in. (53.3 x 74.9 cm), framed. Condition: Not examined out of frame. $3,500-5,500
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304 Walter Spitzer (Polish, b. 1927)
305 Gerard Passet (French, b. 1936)
Bucoliques Signed “W. Spitzer” l.r., identified on a presentation plaque, titled on the stretcher, dated “Mars. 66” on the reverse, gallery stamp from Galerie Rolly-Michaux, Boston, on the stretcher. Oil on canvas, 25 1/2 x 31 3/4 in. (64.7 x 80.6 cm), framed. Condition: Good.
Village en Ile de France Signed “Gerard Passet” l.r., titled, signed, and numbered “(18)/...” on the reverse. Oil on canvas, 23 3/4 x 28 7/8 in. (60.0 x 73.5 cm), framed. Condition: Minor surface grime. $1,000-1,500
Provenance: A Massachusetts estate. $1,500-2,000
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306 Hermann Dudley Murphy (American, 18671945) In Taxco Monogram signature “H. Dudley Murphy” l.l., signed and inscribed “In Taxco H. Dudley Murphy” with monogram on verso, label from Grand Central Art Galleries, New York, on the stretcher. Oil on canvas, 30 x 35 in. (76.2 x 63.5 cm), in a signed “Feliciano Nemiccolo” frame. Condition: Tiny cracks with flake losses, signature enhanced. $3,000-5,000
307 Marcel Dyf (French, 1899-1985) Luxembourg Gardens Signed “Dyf” l.r. Oil on canvas, 22 x 18 1/2 in. (55.9 x 46.9 cm), framed. Condition: Surface grime. $4,000-6,000 308 Paul Emile Pissarro (French, 1884-1972) Pommiers en Fleurs à Vascoeuil Eure Signed “Paulémile-Pissarro” l.r. Watercolor and pencil on paper, sight size 7 3/4 x 10 3/4 in. (10.75 x 27.3 cm), framed. Condition: Not examined out of frame. $1,000-1,500
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309 Heinrich Hartung (German, 1888-1966) Village with Stormy Sky Signed and dated “H. Hartung D.P. 24” l.r. Oil on canvas, 18 1/4 x 28 3/4 in. (46.4 x 73.0 cm), framed. Condition: Minor surface grime, frame abrasion, and minor cracking to paint surface. $2,000-3,000 310 Maurice L. Freedman (American, 19041985) Queen Anne’s Lace Signed “Maurice Freedman” l.r., signed and titled, with label from Columbus Gallery of Fine Arts on the reverse. Oil on board, 22 x 30 in. (55.9 x 76.2 cm), framed. Condition: Unobtrusive surface grime, horizontal scratches u.r.
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Provenance: Collection of Morton May, St. Louis; gift to the current owner. $2,000-3,000
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311 Maurice L. Freedman (American, 19041985) Stonington Cove Signed and dated “Maurice Freedman ‘60” l.l., signed and titled on verso. Oil on board, 18 x 24 in. (45.7 x 60.9 cm), framed. Condition: Good. $4,000-6,000 312 Kyohei Inukai (American, 1913-1985) Still Life with Anemones in a Vase Signed “inukai” l.r. Oil on board, 16 x 12 in. (40.6 x 30.5 cm), framed. Condition: Good. $1,500-2,000
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313 Paul Gagni (French, 1893-1962) L’Opera Signed “Gagni” l.r., titled on a presentation plaque. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed. Condition: Craquelure, surface grime. $1,500-2,000
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314 Paul Gagni (French, 1893-1962) Boulevard St. Martin Signed “Gagni” l.r., titled on a presentation plaque. Oil on canvas, 20 x 24 in. (50.8 x 60.9 cm), framed. Condition: Minor craquelure, surface grime. $1,800-2,200 315 Micha Wilatch (American, b. 1910)
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L’Institut de France à Paris Initialed “MOW” l.r., title handwritten on a label printed “MICHA WILATCH/Toiles Récentes” affixed to the stretcher. Oil on canvas, 18 x 22 in. (45.7 x 55.8 cm), framed. Condition: Minor craquelure. $1,500-2,000
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316 Reynolds Beal (American, 1866-1951) A Demerara Canal Signed, titled, and dated “Reynolds Beal/.../1932” l.l. Watercolor and graphite on paper, sight size 8 5/8 x 11 1/2 in. (22.0 x 29.0 cm), framed. Condition: Not examined out of frame. Provenance: Estate of the artist, to Robert B. Campbell, through to the current owner. N.B. The Demerara River is located in eastern Guyana. Demerara was a historical region in the Guianas on the north coast of South America, now part of the country of Guyana. $1,000-1,500 317 Clara D. Davidson (American, 1874-1962) The Village on the Hill Signed “Clara D. Davidson” l.r., estate stamp on verso. Watercolor on paper, sight size 14 1/2 x 10 in. (36.8 x 25.4 cm), framed. Condition: Not examined out of frame. $1,800-2,200 317A
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317A Alexandre Louis Jacob (French, 1876-1972)
318 Jane Peterson (American, 1876-1965)
Au Bord de Marais, Sur Signed “A. Jacob” l.r., signed on verso, identified on a label from the Newman Galleries, Philadelphia, affixed to the reverse. Oil on board, 16 x 12 1/2 in. (40.6 x 31.7 cm), framed. Condition: Good.
Grand Canal Signed “Jane Peterson” l.r. Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), unframed. Condition: Surface grime, puncture, losses, and stretcher marks.
Provenance: Acquired from Newman Galleries in Philadelpia; by descent to the current owner. $2,500-3,000
Provenance: Estate of Jane Peterson, O. Rundle Gilbert Auction, Ipswich, Massachusetts, August 9–10, 1966. $5,000-7,000
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319 Attributed to Hans RuzickaLautenschlaeger (Austrian, 1862-1933) Lago di Garda – Salò Signed, dated, and inscribed “Ruzicka - L ‘25...” l.r. Oil on panel, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Vertical surface cracks, minor surface grime. $1,000-1,500 320 Gilles Gorriti (French, b. 1939)
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La Croisette de Ste. Maxime Signed “Gorriti” l.l., titled and signed on verso. Oil on canvas, 21 1/4 x 25 1/2 in. (54.0 x 64.0 cm), framed. Condition: Good. $1,500-2,000
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321 Edward Brian Seago (English, 1910-1974) After the Regatta, Blakeny, Norfolk Signed and dated “Edward Seago ‘50” l.l., titled on a label from the Coe Kerry Gallery, New York, on the reverse, with estate stamp. Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Good. $10,000-15,000
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322 Herbert F. Denman (American, 1855-1903) Nymphs with Swans, from Prothalamion by Edmund Spenser, alternately titled Spring Signed and dated “Herbert Denman/1895” l.r., titled on an unattributed label affixed to the stretcher. Oil on canvas, 26 x 36 in. (66.0 x 91.5 cm), framed. Condition: Lined, paint losses with areas of flaking along the bottom and right edges, retouch, minor surface grime.
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N.B. Prothalamion was published in 1596 in honor of the double marriage of the daughters of the Earl of Worcester, Elizabeth Somerset and Katherine Somerset. Spenser’s poem included the following lines which inspired this composition: “There, in a meadow, by the river’s side,/A flock of nymphs I chanced to espy,...With that, I saw two swans of goodly hue/Come softly swimming down along the Lee; Two fairer birds I yet did never see.” $5,000-7,000
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323 Augustus Saint-Gaudens (American, 18481907)
324 Joseph Lindon Smith (American, 18631950)
Portrait Plaque of Jules Bastien Lepage Signed and inscribed in the cast u.r., identified on a presentation plaque. Plaster cast, conceived in 1880 for a bronze of the same year, 14 1/2 x 10 1/4 in. (36.8 x 26.0 cm), framed. Condition: Not examined out of frame.
Seti Offering Ceremonial Garments to Horus Signed “Joseph Lindon Smith” l.r. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Good.
Literature: Dryfhout, John H., The Work of Augustus Saint-Gaudens (New Hampshire: University Press of New England, 1982), item #87-2, p. 107. $3,500-5,000
Provenance: Purchased from the artist, a close family friend and neighbor, by the grandparents of the current owner. N.B. Menmaatre Seti I (or Sethos I in Greek) was a pharaoh of the New Kingdom’s Nineteenth Dynasty of Egypt. He was the son of Ramses I and Queen Sitre, and the father of Ramses II, better known as Ramses the Great. The inspiration for this painting was taken from an image of Seti offering bolts of cloth to Horus, found in one of the chapels at the Temple of Abydos, Egypt. A photocopy of a label describing the work is included with this lot. $6,000-8,000
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325 Pavel Tchelitchew (Russian/American, 1898-1957) Annunciation Signed and dated “P. Tchelitchew 31” l.l. Oil on canvas, 51 3/4 x 35 1/2 in. (131.5 x 90.0 cm), framed. Condition: Lined, scattered retouch and craquelure, surface grime. Provenance: A private Massachusetts collection. N.B. Pavel Tchelitchew was born near Moscow to a wealthy family. Forced to flee during the Russian Revolution of 1917, Tchelitchew went first to Kiev where he began his formal art training at the Academy of Art, studying with Alexandra Exter, a pupil of Fernand Leger. From Kiev he went on to Berlin, where he began working as a stage designer, a field that continued to engage him throughout his career. Moving to Paris in 1923, Tchelitchew began to do set and costume designs for Serge Diaghilev ballets. At this time he also had success with easel painting, developing a technique of showing multiple images on a single canvas, often using multiple perspectives.
In 1925 Tchelitchew exhibited a painting at the Salon d’Automne, catching the attention of Gertrude Stein, who brought the young artist into her elite intellectual circle. Stein introduced him to Picasso’s early paintings of 1905-06, which influenced Tchelitchew to flatten pictorial space and limit himself to monochromatic variations of the same color. Paring his palette first to earth colors, he further limited color eventually to gray and white tones, using heavy impasto and sometimes incorporating coffee grounds and house paint. Tchelitchew came to the United States for the first time in 1934, and had his first American one-man show at the Julian Levy Gallery. In New York he designed ballet sets for George Balanchine and Igor Stravinsky. In 1942 Tchelitchew completed his best known painting, Hide and Seek, which was purchased by the Museum of Modern Art in New York. This work presents three different events taking place in three moments of time, seen from three different perspectives. The painting at hand, dated 1931, displays the artist’s muted palette of blues and grays. It is a very modern Annunciation. The columnar angel, minus the usual trappings of wings and halo, stands behind the figure of Mary and gestures toward heaven with one pointed finger, while Mary, her head in profile painted on a stretched canvas resting on her draped body, sits in a contemporary armchair. The figures occupy an ambiguous, enclosed space that is animated by the accordion-like screen on which the angel drapes his arms. $70,000-90,000
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326 Lilla Cabot Perry (American, 1848-1933) Portrait of the Hon. Lady Bellingham Signed “Lilla Cabot Perry” u.r., label with artist and title on verso. Oil on canvas, 32 x 25 1/2 in. (81.2 x 64.7 cm), framed. Condition: Restoration to face and arms. Provenance: Through the estate of the artist. N.B. The label indicates this work was painted while Perry was living at 41 Ave del al Bourdonnais, Paris. The sitter, Hon. Lelgarde Harry Florence Clifton (1870-1939), was the second wife of Sir Alan Henry Bellingham, 4th baronet Bellingham. $4,000-6,000 327 Abbott H. Thayer (American, 1849-1921)
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Portrait of Helen Bigelow Merriman Signed and dated “Abbott H. Thayer 1890” u.l., label from the ACA Gallery, New York, on verso. Oil on canvas, 43 3/4 x 34 in. (109.8 x 86.4 cm), unframed. Condition: Lined, scattered retouch, craquelure, and surface grime. Provenance: Ex collection Cincinnati Art Museum, gift of Rev. Daniel Merriman in 1895 as Portrait of a Lady; through to the current owner. N.B. Helen Bigelow Merriman (18441933) was an artist, art historian, author, and philanthropist. She is shown in this portrait holding a paint brush. The only child of Worcester carpet mogul Erastus Bigelow, Helen inherited the family fortune, art collection, and summer residence, “Stonehurst Manor.” She married Reverend Daniel Merriman, Pastor of the Central Congregational Church of Worcester, and had one son, Roger Merriman. The Merrimans were active proponents of the arts during Worcester’s golden age. Mrs. Merriman took an active role in the Worcester Art Society, which was established in 1877, giving lectures on art history. She also served as president of the North Conway Public Library and founded Memorial Hospital in memory of her parents. Her husband, Reverend Daniel Merriman, was the first president of the Worcester Art Museum.
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Helen Merriman wrote a small, 36-page booklet entitled Concerning Portraits and Portraiture, which she presented at the Worcester Art Society in February of 1891. In it she discussed Abbott Thayer’s methods, noting that she had observed him at work. She did not, however, specifically reference her portrait sessions with Thayer. Thayer’s logs, now at the Smithsonian, indicate that Daniel Merriman paid $500 for his wife’s portrait. $1,000-1,500
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328 Lilla Cabot Perry (American, 1848-1933) Portrait of Edith Perry Ballantine and Edward Ballantine Unsigned. Oil on canvas, 31 7/8 x 25 5/8 in. (81.0 x 65.0 cm), unframed. Condition: Patch reinforcement, retouch, scattered areas of craquelure, subtle varnish inconsistencies.
N.B. Accompanied by a photocopy of a certificate of authenticity, signed by the artist’s three granddaughters, Lilla, Anita, and Elizabeth. The certificate identifies the sitters as “Aunt Didi and Uncle Teddy” and gives the following provenance: “From the artist to her daughter, Miss Margaret Perry, then by descent through the family of the artist.” The original certificate will be made available to the purchaser of the lot. $4,000-6,000
Provenance: Through the estate of the artist.
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329 Arthur J. Lyons (English, fl. 1911-1921) Pierrette Signed and dated “Arthur J. Lyons 15” l.l., label from Redfern Gallery, London, on verso. Oil on canvas, 35 x 28 in. (88.9 x 71.1 cm), framed. Condition: Scattered retouch in bouquet, small area l.l. and signature enhanced. $1,500-2,000 330 Dorothy Ochtman (American, 1892-1971) Still Life with Summer Flowers in a Blue Vase Signed “Dorothy Ochtman” l.l. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed (under glass). Condition: Good. $2,500-3,000
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331 Antonio Pichot (Spanish, b. 1934) Lectura Signed “Antonio Pichot” l.l., titled and signed “-Lectura-/Antonio Pichot” on the reverse, dated “1963” on the reverse and on the stretcher. Oil on canvas, 32 x 26 in. (81.2 x 66.0 cm), framed. Condition: Good, minor surface grime. $3,000-4,000
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332 Kenneth Frazier (American, 1867-1949) Woman Seated, Resting Face in Hands Signed “K. Frazier” u.r., titled on an exhibition label on verso, labels from FAR Gallery, New York, and Jeanne Frank Gallery, New York, (cat. no. PS 591) also on verso. Pastel on paper, 32 1/2 x 22 1/2 in. (82.5 x 57.1 cm), framed. Condition: Minor spotting u.l., not examined out of frame.
333 Ivan G. Olinsky (Russian/American, 18781962) Fond Recollections Signed “Ivan G. Olinsky.” u.l., titled on a presentation plaque. Oil on canvas, 30 1/4 x 25 1/8 in. (76.8 x 63.8 cm), framed. Condition: Lined, retouch. $3,000-5,000
Provenance: Ex collection of Mr. & Mrs. Rolf Wartenberg, Miami, Florida. Exhibitions: Kenneth Frazier: American Impressionist, The Westmoreland County Museum of Art, Greensburg, Pennsylvania, October 6-28, 1979. $1,500-2,000
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334 Charles Webster Hawthorne (American, 1872-1930) Flower Girl Signed “Hawthorne� u.r., label from William Macbeth Gallery, New York, on verso. Oil on canvas laid down on panel, 22 x 18 in. (55.8 x 45.7 cm), framed. Condition: Minor craquelure, scattered retouch.
Provenance: An estate from Maine and Pennsylvania. N.B. The lot is accompanied by the exhibition catalog The Paintings of Charles Hawthorne, published by the University of Connecticut Museum of Art, 1968. The model is possibly Sylvia Shaw, an American sculptor whose bronze Bird Girl was used as the cover illustration for the 1994 novel Midnight in the Garden of Good and Evil. $18,000-22,000
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335 Henry Strachey (English, 1863-1940) Summer Signed and dated “H. Strachey 1931” l.r., titled “Summer/Henry Strachey/Stowey Mead/ Clutton Somerset” on a label on the reverse. Oil on panel, 19 x 13 1/2 in. (48.3 x 34.3 cm), framed. Condition: Surface grime, minor scattered retouch, reverse panel with green painted linen residue. $1,000-1,500 336 Charles Edward Chambers (American, 1883-1941) Illustration, Possibly from The Good Earth by Pearl Buck Signed “C.E. Chambers” l.l. Oil en grisaille on canvas, 21 x 35 in. (53.3 x 89.0 cm), framed. Condition: Scattered surface rubs, craquelure, surface grime. $800-1,200
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337 Malvina Hoffman (American, 1887-1966) The Mongolian Dancer Signed “© Malvina Hoffman” and with foundry mark “Cellini Bronze Works N.Y.” in the bronze at the back and side of the base, respectively. Bronze with green patina, 20 x 15 x 6 1/2 in. (50.8 x 38.1 x 16.5 cm), on a painted wood base. Condition: Minor surface grime. Literature: Henry Field, The Races of Mankind, Sculptures by Malvina Hoffman, Anthropology Leaflet 30 (Chicago: Field Museum of Natural History, 1937); Malvina Hoffman, Heads and Tales (New York, 1943), p. 225.
N.B. Malvina Hoffman conceived The Mongolian Dancer in 1932, as part of her Races of Mankind series commissioned by Stuart Field of the Chicago Field Museum of Natural History. The collection, housed in the Museum’s “Hall of Man,” comprised 105 sculptures and was exhibited at the 1933 Chicago World’s Fair and the 1938 New York World’s Fair. Two foundries are known to have cast smaller editions of the Mongolian Dancer: Roman Bronze Works in an edition of 18 and Cellini Bronze Works, quantity of edition unknown. $8,000-12,000
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338 Bernhard (Bernardus Henricus) Klene (Dutch, 1870-1930) Les Crysanthemes Signed and dated “Bern ‘06” l.r., titled on a label on verso of stretcher, stenciled “P. Conant, Paris” on verso. Oil on canvas, 26 x 21 1/4 in. (66.0 x 53.9 cm), framed. Condition: Good. N.B. Information affixed to the frame states that the work was exhibited at Galerie Marcel Bernheim, Paris. $1,500-2,000 339 Frederick Ballard Williams (American, 1871-1956) Diana Signed “Fredk Ballard Williams” l.r., labels from Babcock Gallery, New York, and Wetzell Gallery, Tulsa, on the stretcher. Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed. Condition: Vertical cracks, lined, surface grime. $1,800-2,200
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340 William Baxter Palmer Closson (American, 1848-1926) Five Ladies Unsigned, estate stamp inscribed “William Baxter Closson, WBC #39, Vose Galleries� on verso, titled on a presentation plaque. Oil on board, 10 x 10 in. (25.4 x 25.4 cm), framed. Condition: Good. $1,500-2,000 341 Dorothea M. Litzinger (American, 18891925) Floral Still Life with Laurel, Foxglove, and Daisies Unsigned, identified on paper affixed to verso. Oil on canvas with gilt paint, sight size 22 x 13 1/2 in. (55.8 x 34.2 cm), framed (under glass). Condition: Unstretched, minor canvas buckle, not examined out of frame. Provenance: Ex collection of a New England institution. $800-1,200
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342 John Whorf (American, 1903-1959) Nude Beside an Oceanside Cliff and Nude Beside Foliage/A Double-sided Composition Unsigned. Watercolor on paper, sight size 12 x 9 1/2 in. (30.8 x 24.2 cm), framed. Condition: Foliage with a small nick to paper surface l.r., enclosed with an over mat but not covered by glass, not examined out of frame. Provenance: From the collection of Robert B. Campbell, owner of Shore Galleries in Boston and Provincetown, Massachusetts, and friend and neighbor of John Whorf, by descent to the current owner. $3,000-5,000 343 Charles Paul Gruppé (American, 18601940)
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An Interesting Book Signed “Chas. P. Gruppé” l.r., titled on the reverse. Watercolor and gouache on illustration board, 20 1/8 x 16 1/8 in. (51.0 x 40.0 cm), framed. Condition: Affixed to window mat with masking tape around the perimeter of the reverse. $800-1,200
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344 John Whorf (American, 1903-1959) In a Lazy Mood Signed “John Whorf” l.r., identified on a label from Arvest Galleries, Inc., Boston, affixed to the frame backing paper. Watercolor on paper, 22 1/4 x 13 in. (56.5 x 33.0 cm), framed. Condition: Brown paper tape remnants from old hinges at top edge of reverse, currently hinged to window mat in three places along top edge of reverse. $2,000-3,000
345 Randolphe Lasalle Coats (American, 18911957) Neenah or Golden Shrouds Signed “R.L. Coats” l.l., titled on two Provincetown Art Association labels affixed to frame verso. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Surface grime, minor touch-up. Exhibitions: As Golden Shrouds, Provincetown Art Association Ninth Annual Exhibition, July 1–September 24, 1923; as Neenah, Provincetown Art Association Annual Exhibition, 1924. $1,000-1,500
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346 Jane Peterson (American, 1876-1965) Zinnias in a Rooster Vase Signed “Jane Peterson” l.l., label from O. Rundle Gilbert auction on verso. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), unframed. Condition: Good. Provenance: Estate of Jane Peterson, O. Rundle Gilbert Auction, Ipswich, Massachusetts, August 9–10, 1966, Lot 299. $1,500-2,000 346A Peter Vilhelm Ilsted (Danish, 1861-1933) Bedroom of Elisabeth de Calmette, Liselund Manor House Unsigned, inscribed “Liselund”on the reverse of the frame. Oil on canvas, 23 x 18 1/2 in. (58.4 x 46.9 cm), framed. Condition: Surface grime, patch on verso, minor retouch. Provenance: Descent through the artist’s family. $3,000-5,000 346
346A
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347
347 Václav Spala (Czech, 1885-1946) Still Life with Apples Signed and dated “V. Spala ‘33” u.l. Oil on panel, 7 1/2 x 9 1/2 in. (19.0 x 24.1 cm), framed. Condition: Surface grime. Provenance: Through a private Massachusetts collection. $12,000-18,000
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348
348 Walter Ufer (American, 1876-1936) Navajo Woman Signed “w ufer� l.r. Oil on canvas, 28 x 22 3/4 in. (71.0 x 57.8 cm), framed. Condition: Craquelure, horizontal striations, surface grime. Provenance: Through a private Florida collection. $8,000-12,000
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349
349 George Tooker (American, 1920-2011) Portrait Head of a Man Signed “Tooker� c.l. beneath the window frame. Oil on canvas, 20 x 14 in. (51.0 x 35.8 cm), framed. Condition: Lined, retouch, surface imperfections from canvas weave.
Provenance: Purchased from Donny Malone Auction Gallery, Inc., Saugerties, New York, July 27, 2002, through to a private New York collection. N.B. A note accompanying the lot, written on a George Tooker exhibition announcement postcard (1985) from Marisa del Re Gallery, Inc., New York, indicates that the canvas was inscribed on the reverse with the name of the sitter, Jaro Fabry, now covered due to lining. Fabry (1912-1953) was an artist and illustrator. $15,000-20,000
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350 George Benjamin Luks (American, 18671933) Sketch of Two Figures by an Apple Cart Signed and dedicated “george luks/to C...” l.l. Watercolor and graphite on paper, 10 1/8 x 7 7/8 in. (25.7 x 20.0 cm), unmatted, unframed. Condition: Toning, pale water stains at edges of sheet, brown paper tape remnants around three sides of the reverse, trimmed and with a small tear at center of bottom edge. $800-1,200 351 Reginald Marsh (American, 1898-1954) Two Oil Sketches: Majorette and Figural Study Former signed and dated “Marsh 1952” l.r. Oil and ink on board, 5 x 4 in. (12.7 x 10.1 cm), framed. Condition: Majorette with significant losses, Study with abrasions in central figure. $3,500-5,500
350
351
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352
352 Raphael Soyer (American, 1899-1987) Hippie Girl Signed “Raphael Soyer” l.r., titled on the stretcher. Oil on canvas, 26 x 32 in. (66.0 x 81.2 cm), framed. Condition: Good. $3,000-5,000
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353
353 Norman Rockwell (American, 1894-1978) Study for Tom Sawyer (Schoolmaster Flogging Tom Sawyer) Inscribed and signed “I am pleased to have/ this drawing in/the possession of/mybeloved/ cousin Mary-Amy/Cordially,/Norman Rockwell� l.r. Charcoal on paper/board, sight size 18 1/2 x 14 3/8 in. (47.0 x 36.5 cm), framed. Condition: Toning, staining, scattered fox marks, not examined out of frame.
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Literature: Digital Collection, Norman Rockwell Museum, Norman Rockwell Definitive Catalog Number B209c. (http://collections.nrm.org/search.do?id=3641 96&db=object&page=1&view=detail) $30,000-50,000
Additional information and photos at www.skinnerinc.com
354
354 Norman Rockwell (American, 1894-1978) Study for Girl Sick in Bed, c. 1936 Inscribed and signed “To my cousin/Mary Amy/from/Norman Rockwell” l.r. Charcoal on paper/board, sight size 22 1/4 x 17 3/4 in. (56.5 x 45.0 cm), framed. Condition: Toning, not examined out of frame. Literature: Digital Collection, Norman Rockwell Museum, Norman Rockwell Definitive Catalog Number C361a. (http://collections.nrm.org/search.do?id=3520 11&db=object&page=1&view=detail) N.B. Norman Rockwell’s unparalleled success as an illustrator was due to his ability to produce images which were both nostalgic and at the same time an expression of the future hopes and aspirations of Americans. He was extremely popular throughout his career, his work easily recognized from the numerous magazine covers, illustrations, and advertisements that he produced.
Although he is perhaps best known for his cover illustrations for The Saturday Evening Post (of which there are over 300 between 1916 and 1963), Rockwell illustrated many advertisements and billboards for brands such as Plymouth, Jell-O, and Orange Crush. He was also an accomplished portraitist. What seems to be most engaging about Rockwell’s illustrations is his ability to seize just the right moment, capturing the expressions and gestures that tell the story. This talent, combined with an affable sense of humor, set Norman Rockwell apart as a chronicler of American life. Rockwell studied at the National Academy of Design and the Art Students League in New York City. Preferring country life, in 1915 he established a studio with Clyde Forsythe in New Rochelle, New York. Rockwell was greatly influenced by the works of noted illustrators N.C. Wyeth, J.C. Leyendecker, Maxfield Parrish, and Howard Pyle.
In the 1940s, Rockwell moved to Arlington, Vermont, where he started to focus more on works on canvas. Grandma Moses was his friend and neighbor, and local townspeople became his models. Later in 1953 Rockwell moved to Stockbridge, Massachusetts, the town most associated with the artist, where he continued his career and worked productively into his 80s. Stockbridge is also the site of the Norman Rockwell Museum, which houses the most significant public collection of the artist’s works, as well as his studio and archives. Norman Rockwell was a prodigious worker, preparing for each illustration with sketches and studies. Each commission provided him inspiration to explore new ideas and develop new approaches. The sketch at hand is a study for the painting Girl Sick in Bed (Norman Rockwell Definitive Catalog Number C361) which was the cover for The Saturday Evening Post, January 23, 1937. $60,000-80,000
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355
355 Russell Dale Moffett (American, 1899-1984)
356 Rosebee (American, b. 1932)
357 Gilbert Holiday (British, 1879-1937)
Sketch for Events in the History of Lynn Panel II Signed “Moffett” l.l., inscription on mat describing mural. Oil on cardboard, 10 x 25 1/2 in. (25.4 x 64.7 cm), framed. Condition: Discoloration in margins.
The Attic Playroom Signed “Rosebee” l.r. Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed. Condition: Good. $800-1,200
A Day at the Races Initialed “GH” l.l. Watercolor and gouache on paper/board, sight size 15 x 9 1/4 in. (38.0 x 23.5 cm), framed. Condition: Not examined out of frame. $1,000-1,500
Exhibitions: Provincetown Art Association Annual Exhibition, 1935. $1,500-2,000
356
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357
358
358 Anna Mary Robertson Moses, called Grandma Moses (American, 1860-1961) All is Calm Signed “MOSES.” l.l., dated, numbered, and titled “April 26,1947/.../1177/...” on the artist’s label affixed to the reverse (with copyright reserved to Grandma Moses Properties Co., New York). Tempera on Masonite, 16 x 20 in. (40.5 x 50.8 cm), framed. Condition: Minor surface grime.
Provenance: By direct descent within the family of the artist to the collection of Mr. and Mrs. Norman Scott; Sotheby’s New York, American Paintings, Drawings & Sculpture, April 11, 2013, Lot 175; through to a private New York collection. Literature: Otto Kallir, Grandma Moses (New York: Harrison House/Harry Abrams, Inc., 1984), no. 668, p. 300. $10,000-15,000
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359 Christopher Lee Clark (American, b. 1903) La Toilette Signed and dated “Christopher Clark 1928” u.r. Pastel on paper, 27 1/4 x 21 1/4 in. (69.8 x 53.9 cm), framed. Condition: Spotting and discoloration to mat, not examined out of frame. $1,200-1,800 360 Gaston Lachaise (French/American, 18821935) Two Figural Studies: Standing Nude and Nude from Rear, Purple & Green Signed “C. Lachaise” l.r., both with labels from M. Knoedler & Co., New York (see below) on verso. Colored pencil on paper, sight sizes 11 x 5 1/2 in. (27.9 x 13.9 cm), framed. Condition: Creases, minor spotting, and discoloration. N.B. Both with Knoedler labels, one with title “Nude from Rear, Purple & Green,” #13205, the other no title, #13204.
359
Gaston Lachaise’s Standing Nude and Nude from Rear were each made on a sheet of handmade paper from a tablet obtained in Chinatown, within walking distance of his New York studio, and both drawings exhibit his aim to achieve new, modern ways of describing the female body. In Standing Nude, the rich yet simplified forms of the woman’s body—treated as quasi-geometric units—compare with those of the similarly posed woman in Woman (Hesitation) (LF 27), a statuette Lachaise created in 1919 and first cast in bronze in 1921 (illustrated in V. Budny, “Gaston Lachaise’s American Venus: The Genesis and Evolution of Elevation,” The American Art Journal, vols. 34-35 [20032004], p. 145, fig. 43). The drawing was consigned by Lachaise’s widow in 1947 to M. Knoedler & Co., which represented the artist’s estate from 1946 until 1955. Nude from Rear, a sketch of a lightly draped woman ascending stairs on tiptoe, also with the Knoedler Gallery at one time, gives insight into Lachaise’s artistic process: here, with only a few playful lines, he captured the essence of the woman’s posture. The drawing compares, for example, with Female Nude, Albright-Knox Art Gallery, Buffalo, New York, acc. no. 1972:7.3 (http://www.albrightknox. org/collection/search/piece:687/). In the latter drawing, the figure of the step-climbing woman is more completely developed, yet the underlying motive is the same. We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work. $800-1,200
360
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361 Gaston Lachaise (French/American, 18821935) Female Nude, Kneeling with One Leg Extended and One Arm Raised Signed “G Lachaise” l.r., dedicated “For Chuck/with love/from/Irma” in pencil on the reverse. Pencil on paper, 19 x 12 1/8 in. (48.2 x 30.7 cm), framed. Condition: Small tear, scattered abrasions, mounting residue, creasing, toning, mat burn. Provenance: Ex collection of Charles Percy Parkhurst (1913-2008), Williamstown, Massachusetts. Parkhurst was a part of the so-called Williams Art Mafia. He worked as a museum curator, professor, and was one of the “Monuments Men.”
361
N.B. Gaston Lachaise’s Kneeling Female Nude formerly belonged to Charles Percy Parkhurst, art historian and arts administrator as well as one of the historic “Monuments Men,” who worked to track down and repatriate art stolen by the Nazis during World War II. The drawing, rendered in a spare linear style, depicts a kneeling woman who, with her extended left hand, invites the viewer to look in the direction of her other, upraised hand. The image appears to be based on a statuette by Lachaise of a kneeling nude with both hands raised that was completed by 1930 (illustrated in J. Day, J. Stenger, K. Eremin, N. Khandekar, and V. Budny, Gaston Lachaise: Characteristics of His Bronze Sculpture, Cambridge, Massachusetts, 2012, p. 21, figs. 20a-20b). In both works, the woman seems to act as an inspiratrice. We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work. $2,000-3,000 362 David Hostetler (American, b. 1926) Quiet Woman Signed “D. Hostetler” on the lower edge of the back, inscribed “Quiet Woman/71 AP #1” on a label affixed to the felt bottom of the plinth. Bronze with buffed patina, height 10 1/4 in. (26.0 cm), on a marble plinth. Condition: Small area of oxidation to the patina at the back of the neck, minor surface grime. N.B. The image for Quiet Woman was first carved in wood by David Hostetler. After casting, an assistant re-carved the carving marks in the bronze and buffed the surface. The artist signed the cast using a jeweler’s tool. The label on the felt on the bottom of the plinth is that of the artist, providing the title, date, and number of the artist’s proof.
362
We thank Susan Hostetler, wife of the artist, for her assistance cataloging this lot. $800-1,200
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363 Gregorio Prestopino (American, 1907-1984) Boy with Rooster Signed and inscribed “Prestopino - For Pearl and Ralph” l.r. Ink and watercolor on paper, 26 1/2 x 19 3/4 in. (67.3 x 50.1 cm), framed. Condition: Minor spotting, discolorations on verso. $800-1,200 364 Josef Presser (American, 1907-1967) Orpheus or Oracle Unsigned. Oil on canvas, 30 x 40 in. (76.2 x 101.6 cm), framed. Condition: Lined, minor cracks to paint surface. Provenance: A New York collection, acquired from the artist. Exhibitions: Presser, Associated American Artists, Galleries, October 13–November 1, 1952, #13.
363
N.B. A letter from Agnes Hart Presser dated Jan. 6, 1975, describing the work as “an important Presser oil/has an unusual history.” According to the letter, it was painted in the 1940s from drawings made in Union Square and was first exhibited as Orpheus. In 1951 and 1952 it was greatly repainted in a more graphic and expressionistic manner and was exhibited at the Associated American Artist’s Galleries in 1952 as Oracle, listed as #13 in the exhibition catalog (accompanying this lot). Various correspondence, including a letter from the artist appealing for financial patronage, also accompanies the lot. $2,000-3,000
364
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365
365 Gerrit Hondius (American, 1891-1970) In the Studio Signed “HONDIUS” l.l. Oil on Masonite, 32 1/4 x 39 7/8 in. (79.5 x 101.5 cm), framed. Condition: Varnish inconsistencies, natural pigment fluorescence. $1,200-1,800 366 Peter Mendler (American, 20th Century) African American Boy Studying Signed “Peter Mendler” l.r. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed. Condition: Surface grime, with scratch u.r.; housed in a rustic period carved and painted wood frame. Note: Peter Mendler was a Pennsylvania artist from Stroudsburg. An article in The Pocono Record, dated 1950, lists Mendler’s portrait “Don” as one of the best in show of the professional artists submissions at the annual Wyckoff Art Exhibition. $800-1,200
366
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366A
366A René Magritte (Belgian, 1898-1967) Le Bouchon Signed “Magritte” in blue within the composition l.r., identified on a “Certificat d’Authenticite” issued by Isy Brachot, Galerie Isy Bracho, Bruxelles, Belgium, affixed to the frame backing paper. Pencil on paper, 8 1/4 x 5 3/8 in. (21.0 x 13.5 cm), framed. Condition: Sheet laid down on mat board support and centered within a hand-drawn rectangle, right edge of sheet irregularly cut/ torn. $4,000-6,000
118
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367
367 Suzanne Valadon (French, 1865-1938) Adele preparant le tub et Ketty aux bras levés Signed “S. Valadon” l.l., identified on an exhibition label from The Art Institute of Chicago, dated 1931, affixed to a paperboard backing within the frame. Charcoal on fine paper laid on cardboard, 9 1/4 x 10 5/8 in. (23.3 x 27.0 cm), framed. Condition: Sheet mounted to larger paper support that is taped to mat board, original sheet is very fine paper, irregularly trimmed.
Provenance: The Downtown Gallery, New York; Artcurial-Briest-Poulain-F. Tajan, Art moderne, March 23, 2010, Lot 78. Exhibitions: Chicago Art Institute, 11th International Exhibition of Watercolors, 1931, lent by the Downtown Gallery, New York. $1,500-2,000
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368
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368 Aristide Maillol (French, 1861-1944) Petite Flore drapée, édition Ambroise Vollard Signed “Aristide Maillol” in the bronze on the left side of the base. Bronze with dark brown patina, height 26 3/8 in. (67.0 cm), on a wooden plinth. Condition: Small surface loss between the feet, areas of minor wear to the patina, dust and dirt to the interstices. Provenance: Purchased from Charles E. Slatkin Galleries, New York, in 1959. N.B. Aristide Maillol began his artistic career as a painter. Trained at the Ecole des Beaux Arts under Jean Léon Gerome and Alexandre Cabanal, his early paintings were influenced by the Nabis and Symbolists, particularly Maurice Denis and Paul Gauguin. With Gauguin’s encouragement, Maillol took up tapestry design, and in 1893 he opened a tapestry workshop in his birthplace, Banyuls, winning accolades for technique and artistry. However, reportedly faced with the threat of blindness, Maillol began to experiment with sculpture, first with small terra-cotta works in 1895; by 1899 he had abandoned tapestry in favor of sculpture. In 1902 Maillol created his first major sculpture, A Seated Woman, modeled after his wife Clothilde. It was in that same year that dealer Ambroise Vollard gave Maillol his first exhibition. The artist was already 40 years old. Maillol’s sculpture focused on the human body, primarily the mature female form, rooted in classical sculpture, with emphasis on synthesized shapes, monumentality, solidity, and stillness. He likened sculpture to architecture, balancing the masses found in the natural human body, its individual parts like building blocks, simplified and emphasized.1
Maillol wrote, “The particular does not interest me; what matters is the general idea.”2 He rejected the spiraling forms, dynamic space, and agitated surfaces of works by Rodin, for example, in favor of smooth, rounded forms conceived almost as separate volumes which come together in harmonious arrangement. This new approach would be pushed further by the next generation of modern sculptors, including Constantine Brancusi, Jean Arp, and Henry Moore. The sculpture at hand is a bronze published by Ambroise Vollard during Maillol’s lifetime. Vollard created two different editions of Petite Flore drapée. One was a numbered edition of six. These casts included foundry marks from Alexis Rudier, Florentin Godard, or Valsuani. The other edition, to which this sculpture belongs, did not include foundry marks, and the identity of the foundry or foundries is not known. Ambroise Vollard did not number the casts, and the edition size remains unknown. It is interesting to note that an early version of Petite Flore drapée was carved c. 1901 in wood and is reproduced in John Rewald’s book, Maillol (London: The Hyperion Press, 1939), p. 126. We would like to thank Olivier Lorquin for his kind assistance cataloging this lot. 1. Herbert Christian Merillat, Modern Sculpture: The New Old Masters (New York: Dodd, Mead & Company, 1974), p. 12. 2. Andre Carnduff Ritchie, Sculpture of the Twentieth Century (New York: Museum of Modern Art), p. 39.
$120,000-180,000
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369, with reverse view
369 Hans Rudolf Giger (Swiss, 1940-2014) Bambi Alien Monogrammed “HRG,” numbered “18/500” and with the foundry stamp of ARA on the inside of the right rear leg. Bronze with gold patina, height 6 1/2 in. (16.5 cm). Condition: Good. $1,500-2,000 370 Jorge Noceda Sanchez (Dominican/ American, 1931-1987) Surrealist Woman on Piano Signed “Jorge N. Sanchez” l.r., signed, inscribed, and dated “J. Noceda Sanchez New York, Nov.22-1960...” on verso. Oil on canvas, 28 1/4 x 23 in. (71.7 x 58.4 cm), framed. Condition: Good. $800-1,200
370
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371
371 Paul Outerbridge, Jr. (American, 18961958) Untitled (Skeleton Crucifixion), c. 1934 Unsigned, identified on a label from the Laguna Art Museum, Laguna Beach, California, affixed to the backing. Ink on paper, sheet size 14 x 10 in. (35.5 x 25.4 cm), matted, unframed. Condition: Hinge remnants on the verso at
corners and along top edge. Provenance: Estate of Paul Outerbridge, Jr.; Laguna Art Museum; Christie’s New York, April 20, 1996, Sale 8418, Lot 91. $1,500-2,000
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372
372 George Grosz (German/American, 18931959) Grill-Oyster Bar, New York, c. 1934 Signed and inscribed “Grosz New York� l.r. Ink on paper, sight size 16 1/2 x 22 in. (41.9 x 55.8 cm), framed. Condition: Not examined out of frame. Provenance: Estate of the artist (No. 4.57.9); Artists Unlimited Gallery, Oceanside, New York, in 1969; through to the present collector in 1969. $6,000-8,000
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373
373 George Grosz (German/American, 18931959) Havana Cigars, c. 1955 Signed “Grosz� l.r. Ink on paper, sight size 17 1/4 x 22 1/4 in. (43.8 x 56.5 cm), framed. Condition: Not examined out of frame. Provenance: Estate of the artist (No. 4.61.2); Artists Unlimited, Oceanside, New York, 1968; through to the present collector in 1968. $7,000-9,000
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125
374
374 Walt Kuhn (American, 1877-1949) Clown Signed and dated “Walt Kuhn 1942” l.r. Watercolor and ink on paper, 16 1/4 x 13 1/2 in. (41.3 x 34.2 cm), framed. Condition: Discoloration and paper buckling along right edge, not examined out of frame. $3,000-5,000 375 Walt Kuhn (American, 1877-1949) Circus Clown Signed and dated “Walt Kuhn 1942” l.r. Watercolor and ink on paper, 16 1/2 x 12 1/4 in. (41.9 x 31.1 cm), framed. Condition: Discoloration along mat, rippling at edges. $3,000-5,000
375
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376
376 William Gropper (American, 1897-1977) Bill of Particulars Signed “Gropper� l.r., titled on the reverse. Oil on canvas, 16 x 30 in. (40.6 x 76.2 cm), framed. Condition: Good. $8,000-12,000
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377
377 David Aronson (American, b. 1923) Portrait of Earl Stone Signed “Aronson” l.c., dated “1965” with an exhibition label (see below) on the reverse. Encaustic on Masonite, 36 x 48 in. (91.4 x 121.9 cm), framed. Condition: Minor surface grime. Exhibitions: David Aronson: A Retrospective, Rose Art Museum, Massachusetts, February 4–March 18, 1979, and the Jewish Museum, New York, June 6–September 4, 1979, item #45. N.B. Accompanied by several exhibition catalogs and artist materials. $2,000-3,000 378 George Grosz (German/American, 18931959) Duel Signed “Grosz” l.r. Ink on paper, sight size 12 3/4 x 9 3/4 in. (32.4 x 24.8 cm), framed. Condition: Not examined out of frame. Provenance: Estate of the artist; Artists Unlimited Gallery, Oceanside, New York; through to the present collector in 1966. $3,000-5,000
378
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379
379 George Grosz (German/American, 18931959) Quick Snack, c. 1934 Signed “Grosz� l.r. Ink on paper, 13 1/2 x 16 3/4 in. (34.2 x 42.5 cm), framed. Condition: Small crease l.l., inscriptions on verso visible through paper l.r. Provenance: Estate of the artist (No. 4.11.39); Artists Unlimited Gallery, Oceanside, New York, 1967; through to the present collector in 1967. $6,000-8,000
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380
380 David Aronson (American, b. 1923) The Moonworshipers Signed “Aronson” u.r., numbered “V/XII” on the reverse. Bronze bas relief with deep brown patina, 21 x 33 in. (53.3 x 83.8 cm), with hanging mechanism on the reverse. Condition: Good. Exhibitions: David Aronson: Sculpture, Drawings, Paintings, Boris Mirski Gallery, Boston, Massachusetts, May 23–June 20, 1964. N.B. Accompanied by the exhibition catalog with this lot illustrated on the back cover. The date of the work is thought to be c. 1963. $800-1,200 381 Leonard Baskin (American, 1922-2000) Birdman Signed and dated “Baskin 1960” l.r. Ink and wash on paper, 39 1/2 x 26 3/4 in. (100.3 x 67.9 cm), framed. Condition: Sheet affixed to backing along edges, rippling. $800-1,200
381
130
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382 Leonard Baskin (American, 1922-2000) Caprice Signed and numbered “L. BASKIN/5/8” in the bronze at the back of the base. Bronze with dark brown patina, 24 x 13 x 24 in. (60.9 x 33.0 x 60.9 cm), presented on a tall plinth. Condition: Good. Literature: I.B. Jaffe, The Sculpture of Leonard Baskin (New York, 1980), pp. 126, 130-31, 214, fig. 82. N.B. Accompanied by a photocopy of a 1989 Sotheby’s Preview article titled “Baskin in Isolation.” $3,000-5,000 383 Georges L. Schreiber (American, 19041977) Reading the Torah Inscribed “Schreiber” on verso. Ink and watercolor on Arches paper, 21 x 29 1/2 in. (53.3 x 74.9 cm), framed. Condition: Discoloration and tape residue along edges, hinged to mat with archival materials, minor spotting in image area. $800-1,200
382
383
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384 Giancarlo Isola (Italian, b. 1927) Vele e Luna Signed and dated “G. Isola 68” l.r., titled on verso, stretcher stamped “Galleria Schneider Roma.” Oil on canvas, 39 1/2 x 27 3/4 in. (100.3 x 70.4 cm), framed. Condition: Stretcher mark along top. $800-1,200 385 Serge Chermayeff (American, 1900-1996) Harbour View Signed and dated “S. Chermayeff ‘51” l.l. and u.l., signed, titled, and dated on the reverse. Oil on Masonite, 33 x 41 in. (83.8 x 104.1 cm), framed. Condition: Surface grime, nail holes along top. $1,200-1,800
384
385
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386
386 Claude Venard (French, 1913-1999) The Metro Stop Signed “C. Venard� l.l. Oil on canvas, 38 x 51 in. (96.5 x 129.5 cm), framed. Condition: Good. Provenance: Gallery of World Art, Newton, Massachusetts. $7,000-9,000
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387 Central European School, 20th Century Hilly Landscape with Waterfall Unsigned. Oil on canvas, 28 3/4 x 23 5/8 in. (73.0 x 60.0 cm), framed. Condition: Patch reinforcements, retouch, minor paint loss to u.l. corner, craquelure. $1,500-2,000 388 Thomas Frederick McKnight (American, b. 1941) Meeting on the Coast Signed “mcknight� l.l. Oil on canvas, 8 x 10 in. (20.3 x 25.4 cm), framed. Condition: Minor surface grime. Provenance: Mrs. Emmy Loew, Fort Lee, New Jersey. N.B. Includes a certificate of authenticity from Marantz Galleries, New Jersey, dated 1982. $800-1,200
387
388
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389
389 Thomas Frederick McKnight (American, b. 1941) Voodoo King Signed “mcknight/©” l.r. Oil on canvas, 29 x 23 in. (73.6 x 58.4 cm), framed. Condition: Surface grime, yellowed varnish, 4-inch stretcher mark u.r.
Provenance: Mrs. Emmy Loew, Fort Lee, New Jersey. N.B. Includes a certificate of authenticity from Marantz Galleries, New Jersey, dated 1981. $1,500-2,000
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390
390 Bao Lede (Chinese, b. 1959) Early Spring in Provincetown Signed in English and Chinese and dated “Bao Lede/...07” on the reverse. Oil on canvas, 30 x 30 in. (76.0 x 76.0 cm), framed. Condition: Good. N.B. Bao Lede received his fine arts degree from Tianjin Academy of Fine Arts, where he taught for a brief period after graduation. In 1989, he came to the United States to pursue his MFA at Pittsburgh State University, and has been working on Cape Cod since 1998. $1,500-2,000 391 Robert S. Neuman (American, b. 1926) Untitled Abstract Signed, dated, and inscribed “Robert S. Neuman/1959/Boston” on the reverse. Oil on canvas, 40 x 28 in. (101.6 x 71.1 cm), framed. Condition: Surface grime, paint cracking with losses. Provenance: The Pace Gallery, Newbury Street, Boston, Massachusetts.
391
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N.B. Accompanied by several Neuman exhibition catalogs. $800-1,200
392 John Way [Wei Letang] (Chinese/American, 1921-2012) Untitled Abstract Signed and dated “John Way ‘89” l.l. Oil on paper, 24 x 19 in. (60.9 x 48.3 cm), unframed. Condition: Crease in l.r. corner, fine craquelure to black pigment along top. Provenance: Through the family of the artist. $2,000-3,000 393 Larry Zox (American, 1937-2006) Untitled Signed and dated “Zox 62” l.r. Gouache on paper, 11 7/8 x 11 7/8 in. (30.0 x 30.0 cm), framed. Condition: Floated within the mat, surface abrasion l.r., minor scratches in corners. $1,200-1,800
392
393
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394 Avinash Chandra (British/Indian, 19311991) Untitled Figure Signed indistinctly and dated “Avi… 63” l.l., with a label from Grippi, New York, frame gallery affixed to the frame backing paper. Mixed media on paper, sight size 8 1/2 x 11 1/2 in. (21.6 x 29.2 cm), framed. Condition: Not examined out of frame. $2,500-3,500
395
395 William Bailey (American, b. 1930) Reclining Nude Signed and dated “Bailey 1955” l.l., identified on a label from the Kanegis Gallery, Boston, Massachusetts, on the frame backing and on two labels from the Institute of Contemporary Art, Boston, on the back of the frame. Casein and ink on M. Fabriano watermarked paper, 12 x 17 1/2 in. (30.5 x 44.4 cm), framed. Condition: Paper discoloration along edges of paint. $600-800
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396 Walter Stöhrer (German, 1937-2000) Der Erste Phallus Signed and dated “W Stöhrer...86” l.l., titled l.r. Mixed media on paper, 23 3/4 x 17 in. (58.4 x 43.1 cm), framed. Condition: Not examined out of frame. Provenance: A private Massachusetts collection. $3,500-5,500
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397 Agnes Martin (Canadian/American, 19122004) Blue Flower, 1962 Titled, signed, and dated “Blue Flower/a. martin/62” on the reverse, identified on labels from Robert Elkon Gallery, New York, the Institute of Contemporary Art, University of Pennsylvania, Philadelphia, and on an unattributed museum label affixed to the reverse. Oil, glue, nails, and canvas collage on canvas stretched over panel, panel size 11 5/8 x 11 3/8 in., in an integral frame. Condition: Toning to canvas, minor oxidation to nail heads, minor surface accretions, small split to panel on the reverse. Provenance: A private New Hampshire and Vermont collection. Exhibitions: Agnes Martin, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, January 22–March 1, 1973 and Pasadena Museum of Modern Art, Pasadena, California, April 3–May 27, 1973; Agnes Martin: Paintings and Drawings 1957–1975, Organized by Arts Council of Great Britain, London, Hayward Gallery, London, March 2, 1977–April 24, 1977 and Stedelijk Museum, Amsterdam, May 13–June 19, 1977.
N.B. Although Martin studied at Columbia in the 1940s and 1950s, she spent most of her formative artistic years in New Mexico. She was a part of the Abstract Expressionist movement, although her works were more contemplative than many of her colleagues. Her approach had more affinity with Mark Rothko and Ellsworth Kelly than with the gestural painters. In 1957 Betty Parsons asked Martin to come to New York, wishing to feature Martin at her gallery. Martin had her first show at Parsons in 1958. It was shortly after this that she began to develop the square, grid-like compositions of her mature style. Unlike her Minimalist contemporaries, her grids were far from rigid, and were created through horizontal and vertical elements that intersect. These elements were generally surrounded by a border, giving her compositions a finite quality. In spite of their geometry, Martin generally connected her compositions back to the natural world through her titles. All of these quintessential elements are present in Blue Flower of 1962. Here the horizontals and verticals are created by quarter-inch squares of canvas stained a pale cornflower blue and affixed to the surface with small nails. The squares are imperfect and appear to have been cut by hand. Neither are they perfectly aligned on the surface, thus they read like mat tesserae of an early Byzantine mosaic. The rows and columns of nails form lines as well, and like the squares the nails are not exactly aligned. Each square is given equal visual weight creating a composition that is read as a whole rather than as the sum of multiple parts. This work will be included in an upcoming catalogue raisonné to be published digitally by Artifex Press. $1,500,000-2,000,000
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398 Calvin Brown (American, b. 1952) Name Signed and dated “Calvin Brown 1986” on verso. Alkyo enamel and aluminum paint on canvas, 48 x 48 in. (121.9 x 121.9 cm), unframed. Condition: Good. $800-1,200 399 Tony Rosenthal (American, 1914-2009) Maquette for Big Six, 1975 Unsigned. Patinated metal, 20 1/2 x 20 x 13 in. (52.0 x 50.8 x 33.0 cm). Condition: Surface grime and scratches. N.B. The artist conceived Big Six in 1975. The full-scale model was gifted to the Chrysler Museum of Art, Norfolk, Virginia, by Walter P. Chrysler, Jr. The work is described as “composed of seven square-shaped hollow beams, welded together in diagonal orientations.” $2,000-3,000
398
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400 Jesús Rafael Soto (Venezuelan, 1923-2005) 400, with front view
Petit Carré Rouge, 1965 Signed and dated “SOTO/1965” on the reverse, identified and inscribed “.../Paris 1965” on an unattributed label affixed to the reverse. Oil, metal, and wood, 18 5/16 x 13 3/16 x 4 3/4 in. (46.5 x 33.5 x 12.0 cm), unframed. Condition: Losses and abrasions to the fine, vertical white lines, subtle area of abrasion and scattered pinpoint-sized paint losses to black rectangle, scattered finger smudges. Provenance: Sotheby’s London, Contemporary, Part 2, June 23, 2005, Lot 153. $22,000-28,000
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401
401 Rodolfo Morales (Mexican, 1925-2001) Untitled Signed “RODOLFO MORALES� on a piece of paper affixed to the front of the collage. Mixed media collage, 14 x 20 in. (35.5 x 50.8 cm), in a silver frame, overall size 17 x 23 in. (43.1 x 58.4 cm). Condition: Discoloration in face and ribbons, areas of lifting. N.B. Accompanied by a certificate of authenticity signed by Dora Luz Martinez of Arte de Oaxaca, Mexico. $1,500-2,000
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402
402 Sunil Das (Indian, b. 1939) Composition in Red and Black Signed “Sunil Das� l.r. Gouache and ink over offset print on paper/ board, 9 x 12 in. (22.8 x 30.5 cm), framed. Condition: Not examined out of frame. $1,200-1,800 403 Norris Embry (American, 1921-1981) 403
Untitled Unsigned, identified on a label from Robert Elkon Gallery, New York, on the frame backing. Mixed media on paper, 21 1/2 x 29 1/2 in. (54.6 x 74.9 cm), framed. Condition: Minor fading, not examined out of frame. $700-900
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405
404 Amelia Peláez (Cuban, 1896-1968) Candelabro Initialed and dated “AP-61” l.r. Gouache on paper, 17 3/4 x 12 3/4 in. (45.0 x 32.4 cm), framed. Condition: Subtle handling creases and minor rippling to sheet, hinged to window mat with brown paper tape across the top of the reverse. N.B. Accompanied by a certificate of “Assessment of Style & Value” signed by Roberto J. Cayuso, Latin American Art historian/publisher. $3,000-5,000 405 Domingo Ravenet (Cuban, 1905-1969) Church Facade Signed and dated “Ravenet 1962” l.r., signed and inscribed “Domingo Ravenet/A/Rene Portocarrero/62” on the reverse. Oil on canvasboard, 19 7/8 x 12 in. (50.5 x 30.7 cm), framed (under glass). Condition: Scattered abrasions, surface grime. $1,200-1,800 405A
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406
405A Leonardo M. Nierman (Mexican/American, b. 1932) Ciudad Prismatica Signed “Nierman” l.l., titled and numbered “B-54” on verso. Oil on Masonite, 23 1/2 x 31 1/2 in. (59.6 x 90.0 cm), framed. Condition: Good. $1,000-1,500
406 Amelia Peláez (Cuban, 1896-1968) Florero Initialed and dated “AP 60” l.r. Gouache on paper, 19 11/16 x 12 3/4 in. (50.0 x 32.5 cm), framed. Condition: Minor handling creases, subtle rippling, sheet hinged to window mat with brown paper tape at center top of the reverse.
N.B. Accompanied by a certificate of “Assessment of Style & Value” signed by Roberto J. Cayuso, Latin American Art historian/publisher. $4,000-6,000
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407 Jose Maria Mijares (Cuban, 1921-2004) Habanera Signed “Mijares” l.c. Watercolor on paper/board, sight size 29 x 21 1/4 in. (73.8 x 54.0 cm), framed. Condition: Not examined out of frame. N.B. Accompanied by certificate of authenticity issued by Maria A. Cabrera de Mijares, Mijares Art Gallery. $1,500-2,000 408 Jose Maria Mijares (Cuban, 1921-2004) Arlequín Signed “Mijares” l.l. Oil on canvas, 30 x 25 in. (76.2 x 61.0 cm), framed. Condition: Good. N.B. Accompanied by a certificate of authenticity from Mijares Art Gallery, dated October 4, 2014, and signed by Maria A. Cabrera de Mijares. $3,000-5,000 408A Romeo Villalva Tabuena (Filipino, b. 1921)
407
Village Yellow Signed and dated “Tabuena 1970” u.l., identified on the artist’s label affixed to the reverse. Acrylic on board, 10 x 19 1/2 in. (50.0 x 25.0 cm), unframed. Condition: Paint loss to corners, glue residue along left edge. $1,800-2,200
408
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409
409 Carlos Merida (Guatemalan, 1891-1984) Sin Titulo Signed and dated “CARLOS MERIDA 194...” l.c., with a label from Rosano Marcos Exclusivos, Mexico, D.F., affixed to the backing, inscribed “Central de Publicaciones Leon...ebayo/724MXT” on tape affixed to the reverse. Oil on Masonite, 17 1/4 x 16 1/2 in. (43.8 x 41.9 cm), framed. Condition: Craquelure, minor surface grime.
Provenance: Acquired in Mexico City, c. 1971, probably through Central de Publicaciones, which had an affiliated gallery owned earlier by Alberto Misrachi and then by his son Carlos. The work was framed at Casa Rosano in Mexico City. $25,000-35,000
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410
410 Orville Bulman (American, 1904-1978) C’est Sou Jour de Sortie Signed “Bulman” l.r., signed and dated “Orville Bulman 1965” on verso, titled on a label affixed to the front of the frame, with a stamp from Hammer Galleries, New York, on the back of the frame. Oil on Masonite, 10 x 8 in. (25.4 x 20.3 cm), framed. Condition: Good. $3,500-5,500
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411 Orville Bulman (American, 1904-1978) Du Temps Opportun Signed “Bulman” l.l., inscribed “Orville Bulman 1965” on verso, titled on a label affixed to the front of the frame, with a stamp from Hammer Galleries, New York, on the back of the frame. Oil on canvas, 10 1/4 x 8 1/4 in. (26.0 x 20.9 cm), framed. Condition: Spotty varnish with minor yellowing, small area of cracking. $3,500-5,500
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412 Alexis Miguel Pantoja Perez (Cuban, b. 1969) La Partida Asistida Signed and dated “Pantoja 2013� l.l., titled and dated on the reverse. Oil on canvas, 36 1/2 x 27 1/2 in. (92.7 x 69.8 cm), unframed. Condition: Good. N.B. Accompanied by a certificate of authenticity signed by the artist and dated 2013. $6,000-8,000
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413
413 Alexis Miguel Pantoja Perez (Cuban, b. 1969) La Inspiracion Signed and dated “A Pantoja 2013� l.r., titled and dated on the reverse. Oil on canvas, 27 x 35 in. (68.5 x 88.9 cm), unframed. Condition: Good. N.B. Accompanied by a certificate of authenticity signed and dated by the artist. $5,000-7,000
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414
414 Ang Kiukok (Filipino, 1931-2005) Man with Dog Signed and dated “Kiukok 75” l.r. Ink on paper, 8 x 11 1/2 in. (20.3 x 29.2 cm), framed. Condition: Minor spot l.r., not examined out of frame. $1,500-2,000 415 Leonard Baskin (American, 1922-2000) Two Portrait Drawings of Artists: Man with Ruff/Possibly Hercules Segher and Man with Hat/Possibly Donatello Signed and dated “Baskin 1962” and “Baskin 1964” l.r., respectively. Ink and wash on paper, sizes to 40 x 27 in. (101.6 x 68.6 cm), framed. Condition: Both with sheets affixed to backing along edges, rippling. $1,500-2,500
415
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416
416 British School, 20th Century Female Nude with Hands Clasped Unsigned, a label from The New Art Centre, London, affixed to the underside. Carved wood, 14 3/4 x 11 x 6 in. (37.5 x 27.9 x 15.2 cm). Condition: Minor wear. Provenance: Purchased from the New Art Center, United Kingdom, c. 1970s. $4,000-6,000 417 Anthony Caro (American, 1924-2013) Reclining Nude Signed and dated “A Caro ‘88” and inscribed “To Bryan with Gratitude and regards - Tony” l.r. Charcoal on paper, 19 1/2 x 26 in. (50.0 x 66.0 cm), unframed. Condition: Five vertical creases (possibly rolled), pinholes in four corners. Provenance: A gift from the artist to the current owner. $1,200-1,800 417
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418 Tula Telfair (American, b. 1961) Amidst Clamor, Triptych from the Vertical Studio Series Signed and dated “Tula Telfair 1992” on verso of each section. Oil on canvas, overall 30 x 32 in. (76.2 x 81.2 cm), together in a custom frame. Condition: Minor surface grime. $2,000-3,000 419 Michael Mazur (American, 1935-2009) Tree #1 (4 Parts) Monogrammed “MM” l.r., signed, dated, and titled “Mazur ‘88/...” on the reverse of each panel. Oil on silk, 30 x 22 in. (76.2 x 55.9 cm), quatrotych, one framed. Condition: Good. $1,200-1,800
418
419
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420
420 Manuel Carbonell (Cuban, 1918-2011) Birth of Eve Signed, dated, and numbered “M. Carbonell ‘90/1/8” in the bronze l.c. Bronze with dark brown patina, 16 1/2 x 16 x 10 1/2 in. (41.9 x 40.6 x 26.7 cm). Condition: Patina rubbed in places with green spotting. $8,000-12,000
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421
421 Laura Ann Jacobs (American, b. 1960) Under the C Cup Dated, titled, and signed “2012-103ACCM/.../ LAURA A JACOBS” on the reverse. Mixed media, 21 x 12 1/2 x 8 in. (53.3 x 31.8 x 20.3 cm), unmounted. Condition: Good. N.B. From the Wallflower Series. $1,000-1,500 422 Eve Sonneman (American, b. 1946) Ecstasy Titled, signed, and dated “...1998” on the linen tacking edge on the reverse, identified on a label from Obelisk Gallery, Boston, affixed to the stretcher. Oil on linen, 72 x 36 in. (183.0 x 91.2 cm), unframed. Condition: Good. N.B. Eve Sonneman is a renowned American photographer, known for her singular technique of pairing stills taken seconds apart and presenting them side-by-side. Throughout her career she has also expressed herself in paint, including large abstractions, watercolors, and painted objects. Her distinctive, highly personal form of pointillism has been characterized by the critic Klaus Kertess as “teeming with tiny, obsessively made, evanescent rings congealing into a delicate and fugitive, floreate dew.”1 Ecstasy is part of a series of four paintings, three of which are in the collection of the Royal Sonesta Hotel in Cambridge, Massachusetts. 1. http://www.evesonneman.com/biography.html, accessed April 21, 2015.
$1,000-1,500 422
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423
423 Roxy Paine (American, b. 1966) Scumak Numbered “S2-P2-09” on the bottom. Orange polyethylene, 17 1/2 x 26 x 19 in. (44.5 x 66.0 x 48.3 cm). Condition: Surface grime. N.B. Roxy Paine, a New York contemporary artist, created SCUMAK (Auto Sculpture Maker, 1998–2001), a computer-controlled plastics extruder made of aluminum and stainless steel with a conveyor belt (890.0 x 73.0 x 276.0 in.). SCUMAK dips molten plastic to create one-of-a-kind organic form sculptures. In his machine-driven works, Paine removes the artist’s hand from the creative
process and uses computer programming to create organic forms that juxtapose nature with man-made environments. Art historian Jonathan Fineburg wrote that “The beauty of the machine and the eccentricity of the results are also a paean to the romantic. Paine positions both his gardens and his machines at a fluid interface of man, nature, and science; they take the viewer to an intuitive experience of the liminal place at which scientists have arrived as they begin to redesign the human genome and connect living neurons with silicon chips.” [Source: Fineburg, Jonathan, Art Since 1940: Strategies of Being, Second Edition, Harry N. Abrams, Publishers, New York, 2000, pp. 498-499.] $4,000-6,000
End of Sale 2817B
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Artist Index Alexander, John......................................... 206 American School, 19th/20th Century......254, 295 American School, 20th Century.................. 269 Andreotti, Federico..................................... 211 Anglo/American School, 19th Century........ 238 Aronson, David...................................377, 380 Bailey, William............................................ 395 Baskin, Leonard.........................381, 382, 415 Beal, Reynolds........................................... 316 Beneker, Gerrit Albertus............................. 284 Bennett, Francis I. ..................................... 297 Bluemner, Oscar Florianus......................... 292 Boudin, Eugène.......................................... 299 Braun, Maurice........................................... 291 British School, 20th Century....................... 416 Brown, Calvin............................................. 398 Brown, John Appleton .............................. 265 Brunel de Neuville, Alfred Arthur................. 216 Buhot, Louis Charles Hippolyte.................. 218 Bulman, Orville...................................410, 411 Bundy, Edgar ............................................ 217 Bunner, Andrew Fisher............................... 247 Campagnari, Ottorino ................................ 230 Carbonell, Manuel...................................... 420 Carelli, Giuseppe........................................ 232 Caro, Anthony............................................ 417 Carriera, Rosalba, School of....................... 208 Central European School, 20th Century..... 387 Chambers, Charles Edward........................ 336 Chandra, Avinash ...................................... 394 Chapin, Bryant...................................250, 252 Chermayeff, Serge...................................... 385 Clark, Christopher Lee................................ 359 Clem, Robert Verity.............................270-273 Closson, William Baxter Palmer.................. 340 Coats, Randolphe Lasalle........................... 345 Craig, Thomas Bigelow.............................. 264 Cranach the Elder, Lucas, School of.......... 205 Das, Sunil................................................... 402 Davidson, Clara D. .................................... 317 De Forest, Lockwood................................. 244 de Hooch, Horatius, School of................... 201 Deming, Edwin Willard................................ 268 Denman, Herbert F. ................................... 322 Dorothy, Ochtman ..................................... 330 Dyf, Marcel................................................. 307 Eilshemius, Louis Michel............................. 263 Embry, Norris............................................. 403 Enneking, John Joseph..............259, 260, 294 Flemish School, 17th/18th Century............ 203 Fransioli, Thomas Adrian............................ 283
160
Frazier, Kenneth ........................................ 332 Freedman, Maurice L. .......................310, 311 Gagni, Paul.........................................313, 314 Gasser, Henry Martin ................280, 282, 302 German School, 18th/19th Century............ 204 Gifford, Sanford Robinson.......................... 245 Giger, Hans Rudolf..................................... 369 Glackens, William ...................................... 298 Gorriti, Gilles............................................... 320 Gray, Kate Newenham, Attributed to.......... 213 Gropper, William ........................................ 376 Grosz, George....................372, 373, 378, 379 Gruppe, Charles Paul ........................222, 343 Gruppé, Emile Albert ...277, 278, 286-288, 290 Hall, George Henry, Attributed to.............253A Hartung, Heinrich....................................... 309 Haseltine, William Stanley........................... 233 Hassam, Childe Frederick........................... 241 Hawthorne, Charles Webster...................... 334 Heade, Martin Johnson.............................. 242 Heins, John Theodore, School of .............. 207 Hill, John Henry ......................................... 246 Hoffman, Malvina ...................................... 337 Holiday, Gilbert .......................................... 357 Hondius, Gerrit........................................... 365 Horton, William Samuel.............................. 300 Hostetler, David ......................................... 362 Ilsted, Peter Vilhelm..................................346A Inukai, Kyohei............................................. 312 Isola, Giancarlo .......................................... 384 Jacob, Alexandre Louis............................317A Jacobs, Laura Ann..................................... 421 Janssens, Jacques..................................... 224 Kiukok, Ang................................................ 414 Klene, Bernhard (Bernardus Henricus)........ 338 Koekkoek, Hermanus Willem...................... 226 Kuehne, Max.............................................. 285 Kuhn, Walt.........................................374, 375 Lachaise, Gaston ..............................360, 361 Le Gentile, Louis Victor............................... 212 Lede, Bao.................................................. 390 Lever, Hayley.............................................. 293 Lewis, Edmund Darch................................ 236 Litzinger, Dorothea M. ............................... 341 Luks, George Benjamin.............................. 350 Lyons, Arthur J. ......................................... 329 Magritte, René..........................................366A Maillol, Aristide........................................... 368 Marsh, Reginald......................................... 351
Martin, Agnes............................................. 397 Mayer, Peter Bela....................................... 289 Mazur, Michael........................................... 419 McCord, George Herbert............................ 237 McEvoy, Henry Nesbitt............................... 255 McKnight, Thomas Frederick..............388, 389 Mendler, Peter............................................ 366 Merida, Carlos............................................ 409 Mijares, Jose Maria............................407, 408 Mills, Charles S. ........................................ 251 Moffett, Russell Dale................................... 355 Molitor, Franz...........................................217A Morales, Rodolfo ....................................... 401 Moran, Thomas.......................................... 249 Morland, George................................209, 210 Moses, Anna Mary Robertson.................... 358 Moses, Grandma........................................ 358 Murphy, Hermann Dudley........................... 306 Nehlig, Victor......................................227, 228 Neuman, Robert S. ................................... 391 Nierman, Leonardo M. ............................405A Olinsky, Ivan G. ......................................... 333 Outerbridge, Paul, Jr. ................................ 371 Paine, Roxy................................................ 423 Pantoja Perez, Alexis Miguel...............412, 413 Parisani, Napoleone................................... 221 Parrish, Stephen Maxfield....................274-276 Passet, Gerard........................................... 305 Peláez, Amelia....................................404, 406 Perry, Lilla Cabot................................326, 328 Peters, Carl William ...................... 295A, 302A Peterson, Jane...........................279, 318, 346 Pichot, Antonio........................................... 331 Pissarro, Paul Emile ................................... 308 Post, William Merritt.................................... 261 Prendergast, Maurice Brazil ....................... 301 Prentice, Levi Wells ................................... 243 Presser, Josef............................................ 364 Prestopino, Gregorio ................................. 363 Preziosi, CountAmadeo ............................. 231 Pye, William ............................................... 234 Ravenet, Domingo ..................................... 405 Remington, Frederic Sackrider................... 229 Rockwell, Norman .............................353, 354 Rosebee..................................................... 356 Rosenthal, Tony......................................... 399 Rousseau, Theodore................................223A Ruzicka-Lautenschlaeger, Hans, Attributed to .............................................. 319 Saint-Gaudens, Augustus .......................... 323 Sanchez, Jorge Noceda............................. 370
Schafer, Heinrich Hermann.................214, 215 Schreiber, Georges L. ............................... 383 Scott, Adam Sherriff ..........................266, 267 Seago, Edward Brian................................. 321 Seignac, Paul............................................. 220 Severdonck, Franz van............................... 223 Shapleigh, Frank Henry.............................. 248 Shattuck, Aaron Draper.............................. 256 Smillie, James David ...............................244A Smith, Henry Pember................................. 239 Smith, Joseph Lindon ............................... 324 Sonneman, Eve.......................................... 422 Soto, Jesús Rafael..................................... 400 Soyer, Raphael........................................... 352 Spala, Václav.............................................. 347 Spitzer, Walter............................................ 304 Strachey, Henry.......................................... 335 Stöhrer, Walter........................................... 396 Sully, Thomas............................................. 240 Tabuena, Romeo Villalva .........................408A Tchelitchew, Pavel...................................... 325 Telfair, Tula................................................. 418 Thayer, Abbott H. ...................................... 327 Thiele, Karl Friedrich................................... 225 Tooker, George.......................................... 349 Ufer, Walter ............................................... 348 Valadon, Suzanne ..................................... 367 Venard, Claude.......................................... 386 Vonnoh, Robert William.............................. 296 Walker, William Aiken................................. 253 Way, John.................................................. 392 Wei Letang................................................. 392 Whorf, John.......................257, 303, 342, 344 Whorf, John, Attributed to.......................... 281 Widforss, Gunnar M................................... 258 Wilatch, Micha............................................ 315 Willems, Florent ......................................... 219 Williams, Frederick Ballard ......................... 339 Wilson, John ............................................. 235 Zox, Larry................................................... 393
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Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold “as is,� and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. 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(a) Skinner Inc., may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the three days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. Sales in Massachusetts, Florida, and New York are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation. 10. A premium equal to 23% of the final bid price up to and including $100,000, plus 20% of the final bid price from $100,001 up to and including $1,000,000, plus 12% of the final bid price from $1,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit. Revised January 21, 2015
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164
Absentee Bid Form Sale Title
Sale Date
First Time Bidder?
YES
NO
Customer #
Name (Please Print)
Business Name
Address City
Phone #
Alternate #
check if change in address
State
Zip Code email
I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids as a convenience, and will not be held responsible for any errors or failure to execute bids. I understand that my bids are executed and accepted as per Conditions of Sale as printed in the catalog of this sale. Signature (Required)
Lot #
Date
Description
Bid confirmation via email?
YES
Bid Price
NO
FOR OFFICE USE Marlborough
Boston
Phone
63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429
Fax
Person
274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100
Employee:
www.skinnerinc.com
165
Board of Directors
Departments
Chairman of the Board
20th Century Design
Discovery Auctions
Stephen L. Fletcher
Jane D. Prentiss
Carly Babione
20thcentury@skinnerinc.com
Kyle Johnson
508.970.3253
Melanie Trottier-Mitcheson
Richard Albright
discovery@skinnerinc.com
John Deighton Karen M. Keane Andrew Payne
508.970.3202
American & European Paintings & Prints Robin S.R. Starr Elizabeth C. Haff Michelle Lamunière paintings@skinnerinc.com
Executive Management
508.970.3206
Gwendolyn L. Smith 508.970.3203
Stephen L. Fletcher Christopher D. Fox
Karen M. Keane
americana@skinnerinc.com
Executive Vice President
Stephanie Opolski
American Furniture & Decorative Arts Chris Barber
Don Kelly
Stuart G. Slavid
european@skinnerinc.com
President/Chief Executive Officer
Chief Financial Officer
European Furniture & Decorative Arts
508.970.3200
American Indian & Ethnographic Art Douglas Deihl
Historic Arms & Militaria Joel Bohy militaria@skinnerinc.com 508.970.3215
Jewelry Victoria Bratberg
indian@skinnerinc.com
John Colasacco
508.970.3254
jewelry@skinnerinc.com 617.874.4313
Stephen L. Fletcher
Antique Motor Vehicles Managing Director
Jane D. Prentiss antiquemotorvehicles@skinnerinc.com
Marie Keep
508.970.3253
Senior Vice Presidents
Asian Works of Art
Marie Keep
Judith Dowling
Kerry Shrives Stuart G. Slavid
Judaica Kerry Shrives judaica@skinnerinc.com 508.970.3256
Helen Eagles Suhyung Kim asian@skinnerinc.com
Musical Instruments Jill Arbetter music@skinnerinc.com 508.970.3216
508.970.3263
Oriental Rugs & Carpets
Vice Presidents Victoria Bratberg Eric Jones Gloria Lieberman
Books & Manuscripts
Lawrence Kearney
Devon Eastland
Erika Jorjorian
books@skinnerinc.com
rugs@skinnerinc.com
508.970.3293
508.970.3247
Ceramics
Photographs
Carol McCaffrey Robin S.R. Starr L. Emerson Tuttle
Stuart G. Slavid
Michelle Lamunière
ceramics@skinnerinc.com
photographs@skinnerinc.com
508.970.3203
508.970.3264
Regional Directors Western Massachusetts: George Thomas Lewis 413.727.2721 glewis@skinnerinc.com
Clocks, Watches & Scientific Instruments Robert C. Cheney Jonathan Dowling Paul Dumanowski
508.970.3138 florida@skinnerinc.com
Stuart G. Slavid silver@skinnerinc.com 508.970.3203
clocks@skinnerinc.com 508.970.3201
Florida: April L. Matteini, G.G.
Silver
Wine, Whisky & Ale Marie Keep Joseph Hyman Michael J. Moser finewines@skinnerinc.com
Maine: Bruce Buxton
166
508.970.3296
Auction Services Consignments
Marketing, Media & Communications
Appraisal & Auction Services LaGina Austin Christine E. Finn Katie Fitzgerald Rachel Kingsley Elizabeth Zwicker
Exhibitions & Property Boston:
Marketing
Laura V. Sweeney
L. Emerson Tuttle
Benjamin Evans
Jenna DeLuca
Olga Gerasymiv
Linsey MacDougall
Paige Lewellyn Jessica R. Lincoln
508.970.3299
Institutional Relations L. Emerson Tuttle 508.970.3130
Subscriptions
Receptionist
Linsey MacDougall
Jacqueline Gray
508.970.3240
617.350.5400
Advertising/Production
Consignment Services
Pamela Van de Houten
Patricia Walker King
Jeffrey R. Antkowiak
Rebecca Hamel
Stanley P. Bystrowski
Carol Zeigler
John Cornelius
508.970.3204
Kristina Harrison Kathleen Jones
Customer Relations/Human Resources
Cheryl Richards Photography
Carol McCaffrey
Skinner Online
508.970.3252
Kerry Shrives
Marlborough: Warehouse Frederic Trottier 508.970.3209 Samatha Heighton
Receptionist Lindsay White 508.970.3000
Daniel Bar Judie Ochsner
Accounting
online@skinnerinc.com
Transportation
508.970.3279
Eric Jones 508.970.3229
Denise Johnson 508.970.3269
Absentee & Telephone Bidding
William Madden
Boston: 617.874.4318
508.970.3266
Marlborough: 508.970.3211 Discovery: 508.970.3208
Auctioneers
Kevin Rota 508.970.3283
Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Jessica R. Lincoln, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney
63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429
www.skinnerinc.com
274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100
130 Miracle Mile, Suite 220 Coral Gables, FL 33134 305.503.4423 Fax 305.709.2143
415 Madison Avenue, #1418 New York, NY 10017 212.787.1113 Fax 646.893.0179
167
Directions to Skinner’s Boston Gallery/63 Park Plaza, Boston, MA 02116 617.350.5400 From the West: Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel. Once on the exit ramp, stay in the right hand lane and follow the signs for Copley. The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto Charles Street South. Take your first left off of Charles St. South onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.
From the South: Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station. Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. Kneeland Street becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.
From Logan Airport: Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in the ramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn left onto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza. Skinner is at 63 Park Plaza, one block up on the right.
From the North: Take I-93 South towards Boston. Take exit 26 towards Storrow Drive.  Merge onto MA-28 South via the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turn left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.
168
Catalog Subscription Form Prices effective January 17, 2014. Catalog subscription price includes quarterly brochure. Subscription effective one year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration. Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com
Please check the appropriate boxes:
U.S./Canada
Quarterly Brochure (Included with catalog subscription)
No charge
Foreign (payable in U.S. dollars only)
No charge
American Furniture & Decorative Arts
$120
$143
European Furniture & Decorative Arts
$120
$143
American & European Paintings & Prints (two books)
$135
$158
American & European Fine Prints & Photographs
$60
$73
American & European Fine Paintings & Sculpture
$110
$133
Fine Jewelry
$120
$143
20th Century Design
$60
$73
Asian Works of Art
$60
$73
Fine Oriental Rugs & Carpets
$18
$25
American Indian & Ethnographic Art
$60
$73
Fine Books & Manuscripts
$30
$36
Historic Arms & Militaria
$60
Fine Musical Instruments
$60
$73
Clocks, Watches & Scientific Instruments
$60
$73
Fine Wines
$60
$73
All Above Departments
$750
$915
$73
Subtotal
MA residents 6.25% sales tax
Total
MasterCard/VISA #
Exp. Date
Signature
Check enclosed
Name
Business Name
Mailing Address City email address
State
Zip Tel: (
)
Please enclose payment with subscription form and mail or fax to: Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100